The first problem we are faced with is the fact that the researcher’s view of the image is always loaded with prejudice and his or her own convictions, tastes and preferences. Thus, we accept this conditioning as inevitable, and attempt as far as possible, to correct this distortion of the analysis. In order to do this, our method proposes a first level, known as the contextual level, in which we gather the necessary information on the technique(s) employed, the author, when the image was created, the artistic movement or school to which the it belongs, together with a search for any other critical studies on the work in which the photograph we intend to analyse is included. The aim of undertaking this first level of analysis is to improve our reading competence.

Title

The title of the photograph or caption is essential, as it tends to set or “anchor” the meaning of the photograph from the perspective of the empirical author’s position. At times, the title does not contribute a great deal to the analysis of the photograph. On the other hand, it can sometimes be a critical element in clarifying the meaning of the image, even though only partially, since it is information that forms part of the object under analysis. The photographs of Duane Michals, to cite an obvious example, are frequently accompanied by captions that constitute a generous reflection on the meaning of the photograph from the author’s position.

In any event, we must be cautious vis-à-vis any reflections made by the empirical author of the photograph, since a textual analysis nearly always takes us to much more significant depths than what we might gain from comments by the physical author on his or her own work. We must not forget that production and reception are two radically different processes.

Author, nacionality, year

This information is important as it establishes the authorship of the image, the photographer’s nationality and the year the photograph was produced, thereby enabling us to place it in a geographical and historical context. This information may sometimes be sufficient to associate the photograph with the whole set of work by the author, if we are familiar with it, or with other plastic or audiovisual work from the same period or country in which the image we are analysing has been contextualised. Previous knowledge on the author and his or her work is important if features of their style or characteristic “stylemes” are to be recognised.

However, this type of information is often not available. We are surrounded by thousands of images by unknown authors and with no date, which should not constitute a hurdle to their analysis.

Gender

A further important aspect is the generic classification of the photograph. This can often be a difficult task, as the same photograph may have various generic attributes. The concept of genre is not free of controversy, although the use of this type of category is commonplace in the language of the critic, and helps to orientate the viewer who is open to the use of these denominations: portrait, nude, press photography, social issues photography, war photography, photo report, landscape photography, still-life, architectural photography, artistic photography, fashion photography, industrial photography, publicity photography, etc. Many photographs fall into various generic categories, especially as some of them (like the “artistic”, “social” or “publicity” photograph) are extremely ambiguous. We have therefore provided three different boxes so that the same image can be placed in various generic categories at the same time where applicable.

Source of the image

It is also useful to explain the source of the image, whether it be a book, a catalogue or an electronic document. It is not the same thing to evaluate a photograph reproduced in a catalogue, whose quality may be better or worse than the original photograph with its full dimensions and qualities.

Movement

In some cases, the author of the photograph may be placed within a certain stream or artistic movement, photographic school, etc., knowledge of which may be extremely useful in the textual analysis of the photograph. The school, movement or artistic school may have an aesthetic programme, and knowledge of this will prove most useful.

B/N, Colour

The photograph to be analysed may be in black and white or in colour, or may have been coloured a posteriori. In black and white, toning techniques can be used on the image, either chemically or digitally. Depending on the type of film or developer used, the black and white photograph may have a dominant cold tone (blue) or warm (yellow). In the case of a colour photograph, the colour qualities (type of dominant tone, saturation, etc.) may vary with the type of film or developing technique used. We may also come across photographs that are both black and white and colour, if an element or part of the image has been coloured. In all cases, the technique employed, whether photo-chemical or digital, should not substantially affect the analysis of the image. Any pertinent information should be incorporated when available.

Format

An equally important aspect is the size and dimensions of the positive copy or of the image we are analysing. This information is sometimes included in the caption of the image. The conditions in which a photograph is seen will obviously change substantially when the images are large (as with many photographs by Witkin or Chris Killip) or when they have very small dimensions (such as with Duane Michals’ photographic sequences). This aspect has significant repercussions for the analysis, when the image-viewer relationship is explored.

On the other hand, format is a technical notion that enables us to objectively describe the type of proportion or “ratio” presented by the sides of the image. Thus, in cinema we speak of formats such as 1.33:1 (conventional television format 4:3), 1.85:1 (panoramic TV format 16:9), el 2.33:1, etc. In photography, we speak of formats such as the small format (negative of 24×36 mm), the medium format (may be square, 6×6, or slightly rectangular 6×4.5 cm, 6×7 cm) and large format (9×12 cm, 13×18 cm; 20×25 cm). Digital supports have extended all types of image formats, and have a wide variety of uses such as in web page design.

Camera

Another equally important aspect is the type of camera used. When taking landscape photographs, working with a small format camera (Pete Turner, Ernst Haas) does not give the same effect as with a large format camera (Ansel Adams). This tells us something of the type of relationship formed between the photographer and the photographed object. Likewise, in the field of portrait photography, the use of a 35 mm or small format camera (Robert Frank, Dorothea Lange, Robert Doisneau) has notable consequences when compared with a large format technical camera (Arnold Newman, Nicholas Nixon). In the latter case, the subject photographed is markedly conditioned by the presence of the technical apparatus. The temporality of the photograph is noticeably altered by the use of one or other type of camera, since capturing the photographic instant (which records a specific gesture or expression, of such great importance in the field of photo-journalism) is very different from the search for atemporality in the subject of the portrait (which aims to capture the subjective qualities or “essences” of the subject photographed).

Support

Information is sometimes available on the type of photographic format employed such as small format or 35 mm, medium format, large format, digital photography –this aspect may be very nuanced at times–, even information on the make and type of film used, the compression format used, etc. This information tells us how determined visual effects have been achieved and in particular, the conditions in which the photograph was produced.

Lens

When available, this information tells us whether a telephoto, a wide angle, a normal, or a fish-eyelens etc has been used. The choice of lens has significant consequences for how the physical viewpoint of the photograph is constructed. Although this information is usually unavailable, it should not be difficult to deduce what type of lens has been used. The choice of the photographic lens determines the way in which the subject or object photographed has been portrayed, and likewise informs us of the type of relationship established between the photographer and the subject or object of the photograph.

Others informations

Any other available information may be included in this section (whenever possible) such as lighting, developing or post-production techniques used. Whether natural or artificial lighting, or flash or continuous lighting are used has important consequences for the production of the photograph. We may sometimes encounter tonings, solarisations, posterisations, negative images, use of photographic filters (optical or digital). In all cases we allude to information that is explicitly referred to in the catalogue or other sources from which the photograph analysed has been taken.