BA Phot

C&N: Assignment 4, A thousand words

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A picture is worth a thousand words

Write an essay of 1,000 words on an image of your choice.
The image can be anything you like, from a famous art photograph to a family snapshot, but please make sure that your chosen image has scope for you to make a rigorous and critical analysis.
• If you choose a well-known photograph, take time to research its context – the intentions of the photographer, why it was taken, whether it’s part of a series, etc. Add all this information into your essay to enable you to draw a conclusion from your own interpretation of the facts.
• If you choose to use a found photograph, a picture from your own collection, or perhaps one from an old family archive, use it as an opportunity to find out something new. Avoid telling us about that particular holiday or memory – look directly to the photograph for the information. It may be interesting to compare and contrast your memory with the information you’re now seeing anew from ‘reading’ the picture so intensely.

It’s not enough to write an entirely descriptive or historical account of your chosen image. You must use the facts as a means to draw your own conclusions about what the picture means to you. You may wish to apply what you’ve learned in Part Four regarding translation, interpretation, connotation, signs, punctum, etc., but be sure you get the definitions correct.
Follow thought associations and other images that relate to the discussion, directly or indirectly. Look at the broader context of the image and its background and specific narrative as well as your personal interpretation of it and what thoughts it triggers for you. Follow these associations in a thoughtful and formal way. Allow yourself to enjoy the process!
There are many good examples of writing about single images (e.g. Sophie Howarth’s Singular Images), which you may find helpful to read before attempting your own. Take note of the level of critical analysis and aim for a similar approach in your own writing. You may write about personal connections but ensure you express yourself in a formally analytical and reflective manner. OCA, Photography 2: Context & Narrative p.105

Bill Brandt
Fig. 1 Bill Brandt, Northumbrian coal miner eating his evening meal, 1937
© the estate of Bill Brandt

The assignment brief opens with the phrase 'A picture is worth a thousand words' and (without any further reference to it) asks for an essay on a single picture, deploying 'rigorous and critical analysis' (Boothroyd, 2017, p.92).
There are numerous published approaches to analysing photographs. Combining Barrett (2000), Shore (2007) and Szarkowski (1978 and 2007) with Barthes and Derrida from the course, any analytical method should consider up to five main aspects of a photograph's trajectory from camera to publication and consumption: the subject; the photographer's physical and technical choices; their personal attitudes; the display environment; and the viewer's circumstances.

Fig. 2 Alex Salmond in 2007 with Nicola Sturgeon,
then his deputy and now party leader

© David Moir / Reuters

The headline phrase means that a single image might replace many words (or vice-versa), as is evidently the case with instructions for self-assembly furniture. In more complex media settings, images can replace, reinforce, undermine or even negate any number of spoken and written words. In March, Alex Salmond was 'cleared of sexual assault allegations' (Hutcheon, 2020), but, nevertheless, is frequently depicted as failing to respect colleagues' rights, and taking advantage of his position of authority. The Times used a thirteen-year-old photograph (fig. 2) when reporting the trial (Massie, 2020). Here, the denoted contents are a man trying to embrace a reluctant woman, the press photographers present suggest that there is celebrity or public interest involved. An informed reader might not need the anchoring text (Barthes, 1967) identifying the subjects. The display environment (Barthes' 'channel of transmission') is significant: a national newspaper is using the image to undermine Salmond's position and diminish his court victory.

Richard Drew
Fig. 3 Falling Man
September 11, 2001

© Richard Drew / AP

Some images need an explanation to be appreciated and understood. Richard Drew's Falling Man (fig. 3) might at first appear to be an abstract, then the body is noticed and the photograph becomes sinister, but when the title subtly reveals, through the date, that this was one of nearly 3,000 victims of the 9/11 attack, the full horror of this man's predicament and choices becomes apparent. The significant analytical aspect here is the viewer whose reaction to the context (when the subject is revealed) far outweighs any aesthetic or technical considerations. Those reactions depend on the viewers political (and perhaps religious) views, but nevertheless constitute what Barthes referred to as punctum, defined by Bate (2007) as the 'aspect of the image that affects them in a particular and personal way'.

The image chosen as the central subject of this essay is more complex and nuanced than those considered so far.

In Brandt's Northumbrian coal miner eating his evening meal, 1937 (fig. 1), the denoted contents comprise an unwashed middle-aged man eating a meal at a table, watched by a woman of similar age who is not eating. The room decoration is not contemporary. The image's title establishes the period, the event and the setting and is another example of the clarification a title can provide, Barthes' anchoring.

Superficially, this might be considered a documentary image, a genre that Brandt ostensibly built his reputation on, with his early photobooks, following which he gradually became a regular contributor to British magazines such as Picture Post. While little documentation has been found on this particular image or more generally about his visits to the North of England in the late 1930s, Brandt's manipulative and sometimes performative approach to seemingly documentary images is frequently described.

Hacking (2012, p.61) writes that 'some of the photographs taken by Brandt for his first book … feature … family and friends posing as characters in purportedly unmediated scenes of British social life' and Delany (2004, p.10) that 'his subjects had to be "in character", placed on a stage with the necessary props'.

The connoted aspects of Northumbrian coal miner are by definition subjective and personal to the viewer. Perhaps the most striking component (the punctum of the image in Barthes' terms) is the dirt on the subject's face, body and clothing which, we suspect from the title, to be coal dust: it seems strange to eat a meal without washing, however, pit-head baths were only introduced widely, starting in the 1930s (Wright and Herrera, 2017) and Orwell wrote that 'a majority of miners prefer to eat their meal first and wash afterwards' (The Road to Wigan Pier, quoted in Delany, p. 134). Given my upbringing (close to the South Wales coalfields and Aberfan), I am sensitive to mining issues and interpret the image as an illustration of the oppressive conditions imposed on the working class in post-Depression Britain, but Brandt, perhaps partly as a result of his privileged background, seems to have lacked social concerns in this context and 'never intended them … for political propaganda' (Brand, quoted in Hacking, p.61) and did not, in any case, publish the images for more than a decade (MoMA, 2003, p.19).

Fig. 4 Coal-Searcher Going Home
to Jarrow,
© the estate of Bill Brandt

Other features of the photograph merit a mention: the female subject is not eating; a satchel hangs on the rear wall; the picture on that wall, partially obscured but showing a face, seemingly peering around the drying clothes. It is possible, even inevitable that the viewer will interpret such features in their own way, but given Brandt's practice of arranging the scenery and choreographing the subjects, no sensible conclusion can be reached on their implications. This is a manifestation of polysemy, a Barthian concept that Salkeld (2018, p.56) defines as a photograph's 'capacity for generating multiple meanings'.

It is not suggested that the Northumbrian coal miner or the coal-searcher (fig. 4) were portrayed by actors, but rather that Brandt might have taken a directorial approach to the portrait subjects and settings.

I had naively accepted Brandt's early British work as straightforwardly representational and was, at first, disappointed to learn in research for this essay that many images were staged. However, I have always supposed that many photographers manipulate their subjects, for example, I cannot see how some of Cartier-Bresson’s (fig. 5) and Ronis' (fig. 6) street photographs can be anything other than contrived and Lange's iconic Migrant Mother (fig. 7) has come under increasing scrutiny (Dunn, 2002). Ultimately, in this context, Brandt's approach is appropriate.

Rue Mouffetard, Paris, 1952 Willy Ronis Dorothea Lange
Fig. 5 Henri Cartier-Bresson, Rue Mouffetard, Paris, 1952
Fig. 6 Willy Ronis, Le Petit Parisien, 1952
Fig. 7 Dorothea Lange, Migrant Mother, Nipomo, California, 1936
© the artists, their agents or their estates

1,000 words

References (2011) Bill Brandt: A Statement on Photography (1948) [online]. Available from [Accessed 19 May 2020].

Barrett, T. (2000) Criticising photographs, an introduction to understanding images. 3rd ed. Mountain View, California: Mayfield Publishing

Barthes, R. (1967) Rhetoric of the Image. In: Wells, L. (ed.), The photography reader. London: Routledge, pp.114-125.

Bate, D. (2007). The emperor's new clothes. In: J. Elkins (ed.), Photography theory, London: Routledge, pp.253-255.

Boothroyd, S (2017) Context and narrative. Barnsley: Open College of the Arts.

Brandt, B (1936) The English at Home. London: Scribners

Brandt, B., Haworth-Booth, M., Mellor, D., Mellor, D. and Philadelphia Museum of Art (1985) Bill Brandt : behind the camera : photographs 1928-1983. Oxford: Phaidon.

Bull, S. (2010) Photography. Abingdon,Oxon: Routledge.

Delaney, P (2004) Bill Brandt, a life. London: Jonathan Cape.

Dunn, G. (2002) Photographic license [online]. Available from [Accessed 26 May 2020].

Hacking, J (2012) Lives of the great photographers. London: Thames & Hudson.

Hutcheon, P. (2020) Female witness in Alex Salmond trial says complainants fear for their safety [online]. Available from [Accessed 30 April 2020].

Jeffrey, I. (2007) Bill Brandt. London: Thames & Hudson (Photofile).

Marien, M.W. (2015) Photography Visionaries.London: Laurence King Publishing.

Martin, G. (2020) The meaning and origin of the expression: A picture is worth a thousand words [online]. Available from [Accessed 9 May 2020].

Massie, A. (2020) Cleared but tainted, ‘El Presidente’ Alex Salmond turns guns on SNP enemies [online]. Available from [Accessed 30 April 2020].

MoMA (2003) Bill Brandt: Shadow and Light. New York: MoMA.

Ratcliffe, S. (2016) Oxford essential quotations: Christopher Marlowe, Doctor Faustus (1604) act 5, sc. 1 [online]. Available from [Accessed 9 May 2020].

Salkeld, R. (2018) Reading Photographs. London: Bloomsbury.

Shore, S. (2007) The nature of photographs. 2nd ed. London: Phaidon Press.

Szarkowski, J. (1978) Mirrors and Windows. New York: MoMA.

Szarkowski, J. (2007) The photographer's eye. Revised 3rd ed. New York: MoMA.

Welch, E & Long, J. (2009). Introduction: a small history of photography studies. In: J. Long., A. Noble & E. Welch (eds), Photography: theoretical snapshots, London: Routledge, pp.1-15.

Wright, M. and Herrera, D. (2017) The Pithead Baths of Great Britain [online]. Available from [Accessed 18 May 2020].

Page created 25-May-2020 | Page updated 31-May-2020