Instructable Assignment - Gavin Robinson

This instructable will be a step-by-step guide on how to conduct a visual semiotic inventory of a given resource. Through an evaluation of objects, colour, setting, and viewer positioning, one can garner a comprehensive understanding of a medium's meanings and subtle nuances.

In this instructable, I will conduct a systemic analysis by articulating the steps I would take to analyze the Pulitzer Prize-winning photograph entitled: "The Vulture and the Little Girl". The image was taken by photojournalist Kevin Carter in 1993 and depicted the horrific scene of a small Sudanese child who had collapsed in the pursuit of reaching a United Nations facility center. In the background of the image, a vulture can be seen intently observing and/or stalking the child. Despite the controversial nature of the image, it is often credited for bringing awareness to the humanitarian crisis that was taking place in Sudan at the time.

Through the use of this chosen image, I will undergo a description-analysis process which will identify, analyze, and differentiate the different semiotic materials present in the 'object' and determine the varying meaning potentials that arise as a result.

Step 1: Meaning Potential & Social Functions

Prior to conducting a visual semiotic analysis, it is paramount to first understand the ways in which meaning is created. Generally speaking, one must consider the textual, visual, and social elements of a given medium in order to determine its meaning.

According to French theorist Roland Barthes, meaning must also be studied from both the denotative and connotative viewpoints. The denotative perspective refers to the literal representation given from an image. In other words, at the denotative level, one must determine what the image objectively depicts. On the other hand, the connotative perspective refers to the secondary, subtle meanings that are present in an image. The connotative interpretation is therefore based on ideology, individual interpretation, and social cues. For example, in its most literal (and denotative) sense, a rose is simply a red, flowering plant. However, from a connotative perspective, a rose is also commonly understood as a symbol of love and romance. For this photograph in particular, the literal depiction is that of a small child collapsed on the ground with a vulture in the background. However, on a connotative level, this photograph depicts the widespread atrocities occurring to people in Sudan and also indicates the notion of life versus death and possibly even good versus evil. Despite the seemingly arbitrary correlation between the literal understanding of an object and its socially constructed interpretations, both are integral to the analysis of objects.

Another important aspect of photography that one must consider is the social functions of a photograph. These social functions vary depending on the category under which the image falls. The three categories often utilized are photojournalism, artistic expression, or symbolic expression. Given that my chosen photograph exemplifies the field of photojournalism, it is based on the premise of representing a 'real', unmediated understanding of reality. However, despite the fact that photographs are often assumed to be a direct representation of the material world, it is important to note that they are also representations of our own perceptions of the material world. In other words, aside from the literal meaning of an image, one must recognize the personal biases and unique lived experiences that contribute to one's overall understanding of an image. Therefore, deconstructing the signs, social implications, and overall connotations present in an image is an essential aspect of systematic analysis.

Step 2: Object Analysis

Now that I have identified the integral role that connotation plays in the systemic analysis of images, I will now identify and explain the categories of visual connotators. The first aspect of visual connotation is objects. As it pertains to the study of visual communicative methods, objects are the physical elements of an image that serve to foster ideas. Therefore, a crucial first step when analyzing an image is to identify objects and consider the meanings they invoke. For example, the presence of a crown in an image would signify a sense of royalty. Furthermore, objects often culminate to provide meaning. Through an independent analysis, an object may exhibit little to no meaning. However, given the context of the objects together, a new meaning potential is generated. This potential meaning that arises through the culmination of signs is nuanced, non-linear, and often based on the lived experiences and social context in which the image is placed. As a result, one must identify, categorize, and ultimately compare how objects in an image serve to wield meaning.

In this photograph, the objects are incredibly limited given that it is a remote location. However, one could argue that the vulture itself serves to represent the most significant object in the image. On its own, a vulture is often associated with notions of death and decay. However, with the presence of the child, the meaning of the vulture takes on a far darker tone. The positioning of the onlooking vulture in the background of the child provides viewers with the impression that it is awaiting the death of the child as a means of food. Without the presence of the child in the foreground of the image, the meaning would be entirely different.

This image exemplifies the notion that meaning culminates through the combination of individual objects present in an image. This process of elemental culmination is also referred to as "multimodality". Multimodality is the culmination of signs that combine to form meaning and is paramount to consider when analyzing an image.

Step 3: Colour

Colour is the second connotative element that must be analyzed in semiotic analysis. If utilized effectively, colour has the potential to alter the meaning of an image entirely. Given this, it must be analyzed through a categorical process. Meaning potentials that arise in relation to colour derive from the following categories: brightness, hue, saturation, purity, and luminosity.

Firstly, one must consider the brightness. Brightness refers to the light exposure in an object. In its most basic sense, it refers to how light or dark an image is. Furthermore, one must examine the ways in which the brightness of an image has the ability to set a 'mood' or 'tone' for how it will be interpreted by viewers. In the image above, the overall brightness is quite dark. There is a limited variety of colours and the ones that are present are gloomy. For example, the dirt is a pale, greyish tone and the grass is predominantly light brown and yellow. The lack of brightness serves to indicate the desolate nature of both the environment as well as the situation which is unfolding to the viewer.

The next step in evaluating the colour of an image is to contemplate its 'hue'. Hue refers to the 'warmth' or 'coldness' of an image. The hue colours on the spectrum are orange, red, blue, green, violet, and yellow. In reference to both brightness and hue, this image portrays a scene that is incredibly light and bland. If the image instead included a lush and serene landscape surrounding the child and vulture, for example, new meaning potentials would emerge.

Next, saturation refers to the intensity of colour displayed in a given image. The saturation scale begins at a gray tone of no saturation, to the highest intensity of a colour. It is important to consider the saturation of an image as it is often utilized in photography as a means to display the purity of colours. For example, a black-and-white image will have little to no saturation given its lack of colour. However, nature and landscape photography often focus on a high degree of saturation such that it gives the impression of vividness.

Purity refers to how monochromatic a colour is under different lightness.

Lastly, luminosity refers to the use of vibrant colours that give off the visual impression of glowing. Through visual analysis, it can be utilized as a means of directing attention to a specific aspect of the image.

Despite the fact that not all of these colour characteristics are applicable to my given image, they are all aspects that must be considered in the process of collecting semiotic materials.

In sum, when analyzing the use of colour in an image, it is paramount it consider how colours compare, contrast, and culminate to provide meaning. Aside from conducting an individual analysis of each colour present in a given object, one must also analyze the greater dimensions of colour at play and determine how they amalgamate to create meaning.

Step 4: Setting

Now that you have accounted for the ways in which colour can influence an image's meaning potential, you should now consider its setting. The landscape and setting of a photograph is crucial to understanding its meaning. For example, if an image is based on a beach environment with a sunset in the background, it may be serving as a metaphor for peace and tranquility.

The first step one should do is to evaluate the landscape itself, without consideration to its objects, participants, etc. Oftentimes, meaning potential is found directly through an analysis of the setting. In relation to this image, the physical environment surrounding the child and vulture is dry, isolated, and barren. It can also be assumed that the setting of this photograph is located somewhere in a remote location in Sudan. As a direct result of this, the landscape itself serves to indicate to viewers that Sudan is likely suffering from drought and famine.

Step 5: Representing People and Actions

Another important step in the process of image analysis is to give consideration to the physical representations of the individuals that may be present in an image. Generally speaking, you should consider: how one is posed, how many people (if any) are present in the image, and how these people may be categorized.

With consideration to 'pose', for example, there are a number of connotative elements that one can consider. For example, one should look at how much space is being utilized, if the person is relaxed or tense, or if their body is presented as open or closed. In this given photograph, the child is collapsed and curled up. This physical positioning of the child gives the viewer the disheartening impression that the child is either sick or dying.

Other aspects that should be considered are the notions of individuation and collectivization. Individuation refers to the focus on one individual in the photograph and how their mannerisms and positioning garner meaning potential. Furthermore, individuation also tends to provide a 'humanizing' aspect to images. This humanizing and empathetic position often provided to viewers is incredibly prevalent in this image. By photographing the child in such a saddening state, the image serves as a visual representation of the vast atrocities that were occurring in Sudan at the time. Reading articles about ongoing issues is one thing, but observing the visual exemplifications of such tragedies demonstrates a harsh reality that perhaps would not have otherwise been possible to express in words.

On the other hand, collectivization refers to images which feature large amounts of people. If you had an image that includes numerous people, you should consider analyzing the ways in which people are categorized. This may be through biology, culture, or other specific terms.

Step 6: Action Processes

The next step in image analysis is to determine if there are any observable actions which may provide meaning to the image. For example, one should assess the facial and bodily expressions of whoever is present in an image. This can provide meaning to the emotional state and mental processes of the individual(s) being photographed. Although this step is not applicable to the provided image, it is an integral step for images that portray facial emotion.

Step 7: Viewer Orientation

The last step in the systemic analysis is to evaluate the positioning of the viewer. In photography, this refers to the varying ways in which there are angles of interaction, degrees of proximity, and gaze.

When analyzing the viewer orientation of an image, begin by determining the angle of the shot. If the angle of the image is positioned above the subject, it is utilized as a way to indicate superiority to the viewer. The opposite is true if the angle of interaction is positioned below. Furthermore, if the angle of the image is taken from a horizontal angle, it suggests a neutral line of sight. In other words, the viewer is positioned at the same level as the image subject. With consideration to this photograph, the child is positioned in a state of inferiority in relation to the vulture who appears to be looking down on its prey. Overall, however, the viewer's gaze comes from a neutral position. This provides the sense to the viewer that they are standing near the child.

The next aspect of positionality to consider is proximity. The general notion of proximity is that the closer the image, the more intimate the perspective. In this example, the child is positioned quite close to the frame. This provides viewers with a sense that they are there with the child, even though they are removed from the situation in actuality. If you were to take the exact same photograph, except 15 feet further away, it would not be as impactful due to the fact that the viewer would feel farther removed from the severity of the situation.

Step 8: Conclusion

After completing the series of systemic steps just provided, one should possess a thorough and comprehensive understanding of the numerous meaning potentials of their given image.

Above all, this exercise perhaps most notably exemplifies the notion that meaning is not linear and there is a multitude of factors that contribute to meaning potential.

Step 9: Work Cited

Image: Augustine, B. (2018, January 8). Kevin Carter's iconic photograph: The vulture in the frame. The Hindu BusinessLine. Retrieved February 16, 2023, from https://www.thehindubusinessline.com/blink/watch/the-vulture-in-the-frame/article9901741.ece