“A PICTURE IS WORTH A THOUSAND WORDS”: THE POWER & VALUE OF IMAGERY
by Laura Weatherburn
Communication using photography and video plays an important role in our lives, and as culture develops, so do the messages we seek to share. “What is valued in a photograph is something that is constantly shifting”, as Geraldine Wharry notes in her ‘How to Research the Future’ course.
As a creative researcher and licensing specialist, my work navigates the artistic, legal and ethical matters of advertising agencies and brands using imagery in their campaigns. But in an age where we are all visual content makers and brokers, should we be thinking this way individually too?
Art by Geraldine Wharry - Photo by Elina Krima from Pexels
As infants, we learn to understand visually long before developing the skills to speak, read or write. In fact, our brains are wired to process what we see in as little as 100 milliseconds, and it’s this ability that would have kept our hunter gatherer ancestors safe from the threats around them. In modern life, imagery is used to catch our attention, and quickly share stories that can inform our actions and opinions.
Linguist Ferdinand de Saussure suggested that language (visual or written) is a system of signs, and their meaning is generated by culture and our shared usage. Theorist Roland Barthes developed this further, proposing that signs are interpreted through denotation and connotation.
Denotation is the commonly understood meaning of a sign. For example, a photograph of a cat denotes the visual image and word cat. But connotation draws on the viewer’s cultural experiences to add extra significance. For example, in Japan, black cats are seen as symbols of good luck, and Maneki-neko (“beckoning cat”) figurines have been used to invite prosperity since the Edo period. However, in much of Europe, they’re considered a bad omen due to their enduring associations with medieval folklore and witchcraft, leading to a different reading in this part of the world.
Although we take meaning from images almost instantly, few of us stop to think about how they communicate. This is where an understanding of semiotics – the study of signs and meaning making – can help.
Sociologist Stuart Hall’s reception theory dives deeper into this idea, arguing audiences are active rather than passive; that they interpret what they see in nuanced ways, and don’t always accept the messages intended by the maker. He proposed three responses; preferred, negotiated and oppositional readings, which are all influenced by factors such as the viewer’s age, gender, culture, beliefs and life experiences. A recent example of an oppositional reading can be seen in the public reaction to a UK government-backed advert featuring a photograph of a ballet dancer called Fatima. It was intended to positively promote opportunities for a broad range of people to train in tech, but sparked outrage due to the perceived undervaluing and lack of support for those in the arts during the pandemic.
Digital collage by Geraldine Wharry - Photo from the Met Museum art collection
Some influential organisations are approaching things more consciously though, and are using cultural knowledge to support the making of imagery that can be used for good.
According to the ‘Dove Impact of Beauty Stereotypes Quant Study 2019’, “70% of women still don’t feel represented in media and advertising.” In response, Dove, Getty and Girlgaze launched ‘Project #ShowUs’; a collection of over 5000 unfiltered shots designed for use by advertisers, which challenge beauty stereotypes of female identifying and non-binary individuals. Ensuring diversity behind the lens as well as in front of it, 116 photographers in 39 countries were commissioned to create the images, and 10% from each license goes back to support other creators, and grow the project.
Similarly, VICE Media’s Broadly team were inspired to create ‘The Gender Spectrum Collection’ after struggling to source authentic stock representations of transgender and non-binary people to accompany their writing. Celebrated transgender multimedia artist Zackary Drucker was invited to capture 200 scenarios of everyday life featuring relationships, careers and homes, in a bid to replace the cliches of symbols and flags. The collection has been made freely accessible to all media outlets for use across their reporting, not just pieces related to gender identities.
But what about our individual responsibilities as consumers of imagery, particularly online?
Instagram recently celebrated 10 years since its launch. In that time, it’s amassed 1 billion users and generated $20 billion in revenue last year alone. With the demand for striking visuals so high, especially for business purposes, some may be tempted to save and repost imagery belonging to others. When creating an account, users agree to Instagram’s terms of use and community guidelines which state they can only post content that doesn’t violate another’s intellectual property rights, including copyright. Ways to avoid this include getting a written permission, or only sharing images they’ve created. Sadly, crediting, tagging or including a disclaimer is not enough.
Copyright law is designed to help creators control how their work is used, whilst promoting the sharing of information. Advocates argue that licensing (where a permission is granted, usually in return for a fee) benefits creators, which encourages more creativity and adds to the culture available across society. However, critics believe the term of protection is too long and too broad, and that the law hasn’t been updated to reflect our use of digital technology. For now copyright exists in its current form, and photographers who are concerned about unauthorised use of their work are seeking the services of companies such as Pixsy, who employ image recognition software to identify breaches and claim damages.
Digital collage by Geraldine Wharry- photographer Image by Alfaz Sayed from Unsplash
In some circumstances, sites like Unsplash, Pexels, and Pixabay may be helpful, but there are factors to consider. When an image is uploaded, creators give permission for it to be used in various ways, but that doesn’t automatically extend to what’s in the shot – including people, buildings, logos, artworks, designs and other media. The rights to these may be held by others, opening unsuspecting users up to infringements. Unlike traditional stock libraries, these platforms don’t reward photographers financially, or record how each downloaded image will be used. Krys Alex discovered this when the ballet dancer photograph she posted to Unsplash appeared in the aforementioned UK-government backed advert. Although it had been used within the site’s terms, she described herself as “devastated”. Similarly, in model and actress Emily Ratajkowski’s essay ‘Buying Myself Back’, it’s the emotional impact of having her images exploited that’s particularly difficult to read about.
There is a need for better public education on the legal and ethical use of imagery, and arguably, given the volumes shared on social media, the platforms which benefit should take on some of this responsibility. However, as they rely on consumption to keep user engagement and revenue high, they’re unlikely to take the lead. Instead, it may fall to us as individuals to increase our knowledge and awareness, and think mindfully about how we use photographs and videos in our everyday lives; to look and question the images around us, rather than just see them.
Laura Weatherburn is a freelance creative researcher and licensing specialist, currently helping advertising agencies and brands make culturally relevant campaigns. She is inspired by the study of trends and possible futures, and exploring how insights can be used for good.
Linkedin: https://www.linkedin.com/in/lauraweatherburn/
Instagram: https://www.instagram.com/laura.weatherburn/
Special note: the collage illustrations made by Geraldine Wharry for this piece were created using “free to use” and public domain images found by Laura Weatherburn, which can be modified to share a new message.
