Investigation of the Function of Photo Placement in Conveying Meaning and Directing the Audience

1. Introduction

One of the important issues of semiotics is the role of context and context in the creation and transformation of the meaning of the signs and sign text. Texture provides context conditions for receiving and reading text. According to this principle, any, its meaning, is constructed according to the context in which it is located. Texts are constantly finding new and different patterns according to the context they are in (Sujoudi, 2004: 150). In this respect, photos also have no fixed meanings and do not appear to be the same for all their audiences. One of the factors that influence the meaning and context of the photos is their presentation. On the other hand, texture is also effective in changing the implicit meaning of each. Pervasive presence of this medium has made it possible for photographic images to always be published in contexts or textures other than their original context. In addition, it should be kept in mind that there is no unique, intrinsic, and eternal meaning in the photos. There are, of course, many ways to understand the photo; however, we rely on many contextual clues outside the realm of photography to understand the meaning of the photo. We rarely get a photo in its original form, as we usually see photos on large billboards in magazines, in newspapers, on gallery walls or on bus stops. The social meanings of these photos have been told in advance and implicitly (Price, 2013: 82). As stated above, the purpose of this article is to explain the features and function of the context of the photo that has a significant effect on the meaning of the photo. Along the way, the different contexts of photo placement are separated and the carriers are identified, then photos are examined as examples in each section. In the end, a photo of Russell Lee was tested. The questions are: how can the background of photo be able to impose meaning on it? How do extract the meaning from the photo?

2. Review of the related literature

Mohammad Khodadadi Motarjemzadeh (2016), in the article "Photography: The Challenge of Objective Significance and the Subjective Concept," explores the function of variables such as the intentions of the photographer, the cultural beliefs of the audience, the socio-political orientation by powerful media, and the function of the production and presentation media to distinguish explicit and objective implications from implicit ones. Liz Wells (2013), in his book "Photography: Critical Income," takes a brief look at issues of photography theory and ways of thinking about photography, and in chapters she discusses the different ways and situations in which photography is used. Terry Barrett (2007) discusses the role of external and internal contexts in the reading of a photograph in "Photo Criticism" in a chapter, and points out that viewers cannot easily obtain a reliable interpretation unless they consider the function of these factors. Roland Barthes (2012), in his "Photographic Message ", which contains a series of articles on photography, photo message content and photo reading, addresses the photo message and the issue that photo reading is highly biased and he does not consider the structure of the photo to be isolated from the context. The present study seeks to distinguish between artistic, political, documentary, and propaganda fields, by focusing on research in the field of context and its function with photography, and to describe and explain incorporate a specific photograph into their various functions. It also offers independent research to be used by researchers, photographers, and institutions, as one of the new aspects of this research to provide an applied discussion for photographers and advertising agencies.

3. Research method

The research method is descriptive-analytical and data is collected using library resources. For this purpose, a variety of in-media and intra-media codes are presented in a table, then the description and explanation of the different contexts of the photograph are discussed and each section of a photo is examined as an example. Finally, a photograph of Russell Lee as a research case study in various contexts has been evaluated.

4. Photo as message

If you consider a photo as a message, it consists of a sending source, a transmission channel, and a reception center. Sending source is the broadcast media editorial board such as magazine, television and so on. A group of expertssome take photos and some others select, arrange and process the photos and eventually others choose a title for the photo and add a commentary to it. The reception center is the same people that are faced with photos through the media. The channel of transmission is either magazine, a newspaper, a television or, more precisely, a collection of messages centered on the photo, but surrounded by text, title, photo description, layout, and more abstractly forms the name of the transmission channel (magazine, television, etc.).Because the name implies a conscious and cognitive audience that can greatly direct the reading of the message, for example, a photograph in a highly conservative magazine is very different from the meaning of that photograph in a Communist magazine. Naturally, even from the point of view of a completely internal analysis, the photo structure is not a single structure, and at least will be associated with another structure which is the same text as the photo (title, caption, or article) because the photo itself has poor meaning. As such, all information is transmitted through two different structures (one of which is linguistics). These two structures are co-operative, but since their components are heterogeneous, they cannot be combined or integrated. In the context of the content of the message the words are formed, in the opposite the content is composed of lines, surfaces, and colors. (Barthes: 2010, 11-11).In other words, a photo is a message with different codes, such as text with the photo, polishing and corrections (photo manipulation) and context. Changes in each of these factors lead to semantic and purposeful changes in the message of the photo.

5. Codes

Photo is a message made from cultural and social references; a message based on codes. As John Tag has put it, "An image cannot have just one explicit message - all messages are created"(1988: 5-1 Tag). The concept of code is very fundamental in semiotics. Saussure dealt with linguistic codes and emphasized that signs alone are not meaningful and can solely be interpreted when they are related to one another. In fact, coders from Chandler's idea create a framework in which the signs are meaningful. Coding transforms signs into meaningful systems, thereby creating a relationship between sign and signifier. A code is a set of processes that users of a medium such as photography and cinema use. In fact, as Stewart Hall put it, "there is no comprehensible discourse without the function of a code"(Chandler, 2015: 221). Each text is a system of symbols organized according to codes and sub-criteria that reflect certain values, attitudes, beliefs, assumptions and actions. Coders whose scope is more than a few specific texts relate these texts to an interpretative framework that requires producers and interpreters. Media selection clearly influences the choice of codes. That is why we normally judge the content of a book by its covers (Ibid, 234). Daniel Chandler divides all passwords involved in the creation of meaning and reading of human products (codes in media, communication and cultural studies) into three major categories: Social or intra-media codes, text-based or inter-media codes and interpretive codes; depending on the structure of the research, the first two codes are presented in table form.

Table 1: Photo structure

6. The interplay of inter-media and intra-media structures

Photography is a work of discourse and its performance is measured by the context in which it is placed. Context is something with a specific function that tries to shape everything that is inside it, turning into that being; that is, the function of the context. The message of the photo is also suggested because it acts in the direction of achieving the objectives of the context. The flexibility of the photo media, along with its ability to link different media to one another, has also become a reason for linking inter-media and intra-media elements. One of the most important examples that has given rise to extensive photographic experiences is the connection between text and photography. In the postmodern world of photography, we find many examples where the written text are, or in other words, any verbal explanation such as the title of the work, the subtitle, the artist's point of view, poetry and pre-speech, have an influential role in the photos that cannot be distinguished. In fact, the text plays quite an intrinsic role in the photograph and is an integral part of it (Moghimnejad, 2014: 332).

7. Photo ExternalContext

The exterior background is the position where the photo is presented or found. Each photo is deliberate or accidental in context. We usually see photos in certain situations like books, gallery, museum, newspaper, magazine, bulletin board and classroom. How and where a photo is viewed has a profound effect on its meaning. As Sontag puts it "Every photo is just one piece, its emotional and emotional burden depends on where it stands"(Nojoumian, 2004: 113). As Barthes puts it we do not need to consider photos separately from its use (Barthes, 1988: 52). In 1953, for example, French photojournalist Robert Doisneau took several photos of his favorite French cafes, and eventually a photo in the magazine Lopuan, one of France's leading publications, in a special issue of cafés featuring photographs had been published. The photograph was then used in other journals for different purposes even without the knowledge of the art director (Figure 1). The environments in which the cafe photo was presented overshadowed the content of the photo and imposed predetermined concepts that resulted in unfairness to the photographer, the persons in the photo, and the photo itself. Of course, all of this must be attributed to the power of the external context. The photo is framed at the New York Museum of Art and hangs behind a glass, as it stands beside the wall, with a tablet on it which has this sentence on it:"Robert Doisneau, French, Born 1912, in Café, Férs de la Alle, Paris, 1958, 24 x 30 cm".In this exterior context, it's not part of a popular magazine featuring a special letter to cafés, it doesn't preach against drinking; but it has been hung as artworkin one of the most prestigiousmuseums in the world(Barrett: 2007, 143-141). This suggests that the external context of the photo is very powerful and does not allow the viewer to have a personal, unbiased view. Because the external context, such as the caption or the caption of the photo, affects the photo in some way, as if it was message from the sender to the receiver that should be accepted as such.

Figure 1: In Café Férs, Robert Doisneau, 1958

Source: Barrett, 2007: 137

8. Photo and artistic context (museum and gallery)

To be able to think in terms of a means of communication about photography, we must consider both theory of communication in general and, in particular, photography as a kind of visual sign that is produced and used in specific but different contexts. Therefore, photography can be considered as a crossroads of theoretical perception of its production, publication, consumption or reading.“Instead of limiting our attention to the structure of the text, we should study its receptive structure,” says Kristeva. This will put the text in the totality of previous or contemporaneous texts and will result in changes (Chandler, 2015: 284). Dauglas Crimp believes that the entry of the photo into the privileged space of the museum deprives it of its many potential meanings. In order to emphasize the dignity of the photo as a separate object; as a photo, it was separated from the many territories that were significant in its scope. Crimp's interest is in particular in the work of the Museum of Modern Art in New York, which transforms the photograph into an object that attracts purely aesthetic attention. However, he is the only one attracting our attention to how the Museum of Modern Art of New York embraced the photo as an art object, bringing it into the exhibition space and involving it with the mechanism of research, art criticism, and sculpture that was previously dedicated to painting and sculpture. But Crimp has also explored how the New York Public Library works; he created a photographic section when he became aware of the number of photographs he possessed as well as their historical and financial value. They were searched for photos in all sections of this library, separated from their countless categories and subject areas, and re-classified as photographs, often under the photographer's name(Price, 2013: 83). Crimp says of this type of photography as such a separated form from its original context which will no longer be useful in the domain of other discourse practices. This photography no longer suffers from information, documenting, certification, visualization, and reporting, because the context of the museum and the library highlights some codes, such as the aesthetic codes in the photo, and limits the function of some of them. From now on, the formerly multiplied fields of photography will be reduced to just one: the aesthetic domain (Crimp, 1995: 72). What is missing is the ability of photography to produce knowledge and information through its interaction with other discourses. A photo that is like an artifact, out of sight and in isolation in a museum, loses its multiplicity and ability to transcend the realms of meaning. Because factors such as photo layout and other complementary elements such as text accompanying the photo are very meaningful and in the museum space no longer considers photography an industrial object that can reproduce in large numbers, instead they look at it as if it were a unique object(Price, 2013: 84). Many critics, including Beaumont Newhall, a prominent American historian and musician, said: "The potential for photography gives it a special form of perception that comes from both the ability to capture moment-by-moment photography and from artistic sensibilities. The striking thing is that photographers did not necessarily consider themselves artists. For example, Julia Margaret Cameron or Lady Clementina Hawarden, British photographers, never claimed to do so, even though their work today is a work of art and has a special place in museum treasures (Wells, 2013: 312). Photographers have a great deal of geographical and aesthetic shifts throughout their lives, reflecting different political contexts. Photography was prominent in the avant-garde movements between the 1910s and 1930s, but it was not necessarily in the form of artistic images and would not be displayed in galleries. At that time, photo montage was a common method used both to express political views and to reflect more generally on social change. For example, the assembled photo of Herbert Bayer of hands and eyes in an urban space can be both an exaggeration and a sign of constant care and supervision, as well as a sign of constant care and supervision, and it can be seen that the hands and eyes are the object of observation and craftsmanship that are central to artistic action (Ibid., 314) (Figure 2). Here, the context of the photo can determine or limit the meaning of the photo.

Figure 2: The Lonely Metropolis, Herbert Bayer, 1932

Source: Liz Wells, 2013: 7

Art galleries are places of some special sort and often have cafes or bookstores. Certainly, the network of galleries offers both visual enjoyment and the development of an intellectual and cultural elitism in the audience. Part of the fun is looking at the images in a conversation about them and their shared reactions. It assumes and reaffirms the biographical and cultural similarities within the context of class, gender, ethnicity, education and the common interests involved in the arts. Art galleries have a particular image in this regard and sometimes become explicitly political campaigns. For example, organizations such as Camerawork and Sid Motion Gallery, both of which had a prominent role in the 1980s, were founded with socialist commitments. In fact, photography is often used in a variety of contexts with a commitment to political empowerment to challenge the dominant aesthetic. On the other hand, private collections, government museums and galleries, along with financial support and government subsidies, have a significant economic impact on the arts (Ibid, 363). In the gallery space, of course, the freedom of the audience is of a different kind. It is true that the gallery space can also serve political or economic interests, but its primary function is to show the artist's artistic path and to critique the status quo at a later stage, or at least to reveal and present the facts, however biased. Consequently, if the respondent does not feel free to choose meaning and reading in this context, the context loses much of its function.

9. Photo and Documentary Context (Cultural-Social)

It is difficult to create a boundary and separation between documentary, social, cultural, and so forth. Documentary photography can also be promoted through cultural, artistic use, so that each one of them has a special impact on the audience. Documentary photography and press photography are closely linked, and many photographers who work in the field of explicit photography are sometimes referred to as press photographer and sometimes documentary photographer. However, as the name implies, the press photographer has a special connection to other texts and in his/her classical form is seen as a way of narrating current events or illustrating written news reports. Press photography and documentary photography relate to each other in that they both claim to have a special relationship with the real world and provide a precise and authentic view of the world (Price: 2013, 92). Beaumont Newhall believed that photography, which uses the citation strategy, seeks to convey more information and aims to persuade .To this end, they try to represent and construct meaning by ideological codes like using patriotic images that try to influence audiences and public opinion by using social codes such as facial expression and look. Persuasive processes of this kind involve not only the psychology of individuals and collective psychology but also the macro psychology of all cultures and societies. William Stott's book, Documentary Expression and the American 1930s, states that what documentary photography provides is not information but an inevitable form of communication that is equally present in all its existential forms. Stott hypotheses, in their simplest form, on the recognition of the title "information" remain as always a subject of documentary photography(Jussim: 1984, 153).In the 1930s, the ideal form of documentary photography emerged; a form that found its subjects in "social dilemmas" while at the same time advocating a policy of reform and social education. William Stott' (1973) writes in his influential book on documentary photography: Documentary photography works this way; it does not interpret but imposes its meaning. In the face of the audience, there is such empirical evidence that makes the argument impossible and the interpretation unnecessary. It relies entirely on this evidence; its reality speaks for itself, because what really matters is the truth, so any justified media can convey it. Documentation is not form or style or media, but always content(Stott, 1973: 14). According to this notion, the documentary genre has such a capacity that it can go beyond the discursive structures of any particular form and become an ideological burden of common sense. In the 1930s, for example, the important task of the documentary photography project was to draw the attention of the audience to specific issues that were often accompanied by a view of changing social or political circumstances. A photo of the Ansel Adams seems to be convincing to describe Stott. It is a bit unlikely to imagine landscapes as a subject of advertising. There is a story of the effect of Adams' photographs in his book "Sierra Nevada" (Figure 3). John MuirTrai was influenced by this book when he was Secretary of State. Harold X was the one who promptly took the book to President Franklin Roosevelt and was impressed by the greatness of these photos. The result was that Congress established half a million acres of King Canyon National Park in 1939 (Jussim, 1984,: 156). This story is an example of how the ideological and patriotic codes of the United States have been highlighted such as the pristine and pure nature of America and the preservation of this national heritage in the photo. Providing an image to the audience at the right time and place promptly provokes action and delivers the required result in a simple cause-and-effect way.

Figure 3: Ansel Adams, Sierra Nevada, 1939

Source : https://theculturetrip.com/north-america/usa/articles/ansel-adams-the-father-of-american- nature-photography

Figure 4: Hess, Wang, The Chinese Child, 1937

Source: http://100photos.time.com/photos/hs-wong-bloody-saturday

10. Photo and press context

Another area where you can see the performance of the theater community is the field of press photography. Although press photography was a type of documentary photography that made the disasters open and provided information and news, it was also deeply aware of the need for spectacular images and society; images that draw people's attention to newsstands and drive more sales than competitors. With the emergence of publications such as Life Magazine, Picture Post in Britain and the United States in the 1930s, there was a photographic image that determined what was worth the news. Controversial and dramatic images were considered newsworthy for news. Press photographers often interfered in wars and conflicts in order to create more dramatic images. For example in 1937, Wang put a child in the Shanghai bombed-in railway station and showed the audience the harsh image of war by using the codes of moods and faces and choosing the child as the subject and making the play more emotional to create a captivating picture of the devastation and despair of the Japanese bombing (Figure 4). Frequent changes to the scene by photographers have led to the ever-evolving viewer. Such a play is not always available in real life. Magazines refer to events and photos that have this dramatic aspect (Ramamurthy: 2011, 252-250).

11. Photo and political context

We have seen that the press as a context is working to create a flow to bring some together; that’s when their message is heard. Every group and faction needs to be supported by a number of people in the community and this requires awareness and propaganda through various media to gain public support. The word propaganda means political propaganda. The first attempt to provide a comprehensive definition of propaganda in 1927 by Harold Lasswell. He defines propaganda as the control of thoughts by special symbols, or rather stories, rumors, reports, images and other communication tools. They use a variety of methods to believe lies and rumors. Techniques such as photomontage and image manipulation are often used by politicians to confirm big lies. Use of photomontage or manipulated images is very common in election campaigns. For example, during the 1950 US congressional election Helen Douglas was not elected by the people because of a number of photos showing her in the arms of a Communist leader. After the election, she was able to prove that the photos were photomontages (Mcdonald, 2007: 27). Even simple, distorted photos can be used in different ways. One prominent example of this can be seen in the publication of the photo of Edward (Edmund) Muskie, a serious rival to Richard Nixon during the 1972 US presidential election. This photo shows Muskie in a passive and upset mood (figure 5). Based on the elements in the photo, it appears that he was exposed to dust or snow during the interview, lowering his head and closing his eyes. The viewer of this image may think the interviewee's importance of seeing the interviewer inappropriately in this photo. But the countless publications of this photo in the American newspapers called "Big Man Crying" gave a strange result. Muskie was eventually defeated by his rival Richard Nixon in pre-election polls, and the plurality of the photo was considered one of his defeats, because the codes in the photo were chosen as the carrier, it meant that this person could not continue the path of the powerful presidents of the 1960s. The downward looking face and the half-closed eyes of Muskie, along with the title of "Big Man Crying", could tarnish the image of the former presidents. Even comparing it to his rival Nixon's photo at the same time makes it very pitiful (Figure 6). This skepticism and uncertainty in the public mind, along with multiplying this image and other election campaign tricks led to Muskie's defeat. In this way, it can be assumed that primordial factors can also govern the meaning of the image (Motarjemzadeh, 2016: 72-71). A political advertiser considers guides and codes in his promotional projects as both an incentive to read the message and a contributor to the intended political message. The principle of repetition is one of the most important principles of political propaganda. We deal with unwanted dozens of portraits of political leaders every day, all of which come from the principle of repetition. The photographer first begins to unravel the facts based on his ideology and thinking, in fact he passes the reality through his mental filter, after which the photo editor adjusts the images according to the newspaper's policy. Finally, the editor will allow printing by monitoring the images. So in printing an image report in the absence of any kind of censorship, the reality goes through several filters and the so-called opting out (Nikzad: 2009, 18-18).

Figure 5: Edward (Edmund) Muskie - anonymous photographer

Source: Khodadadi Motarjemzadeh, 2016: 70

Figure 6: Richard Nixon, anonymous photographer

Source: Khodadadi Motarjemzadeh, 2016: 71

12. Photo & Advertising Context (View Products)

View of a scene in which the commodity occupies the whole of social life. The process of commodification is not only seen, but is the only thing that we can see. The world we see is the commodity world(Debord,1967: 42). There is a photography that does not imply an event and is not exclusively related to promotional photography which is called ready photography. As Michin writes, “These photos are easy to identify; exquisite and light images of attractive models, with crisp, flat colors and white backgrounds. These photos are clearly not so realistic"(Michin, 2004) Quoted by (Ramamurthy, 2013: 255) . The main reason for this is that the more generic and multipurpose these images are, the more they can be reused and as a result there would be more sales. "White and simple context, by de-texturing the subject, make the images become more generic. Public spaces are generic like windows, sea, mountains, ocean and a typical street in the city"(Michin, 2004) Quoted by (Ramamurthy, 2013: 256). Michin believes that images change the way we view photography and its uses. Here the photo is not a document and has a symbolic application. Interestingly, these images and codes inside them don't say much. It is the texture that gives meaning. According to Mitchin, this change is partly due to the culture of branded consumption goods. Here the goods are represented with passwords and concepts such as friendship, love, or adventure. These ready-made images must be "remarkable and technically superb but meaningless so they never conflict with the message of the customer"(Marish, 2001) quoted (Ramamurthy, 2013: 256). Advertising photography itself has not created any particular category of photography and instead lends and imitates every genre in photography and other cultural work to modify and transform the meaning of goods. Helen Wilkinson suggests that advertising photography first incorporated seemingly 'realistic' style journalistic approaches and also incorporated narrative through image and text integration, then took advantage of commercial cinematic contracts. The glamor of ordinary works is part of the process by which photography helps the production become full of meanings and attributes that they had no relation to at first. As Karl Marx points out, commodities are usually non-specific objects that are marketed by various social characteristics. Marx calls this process the commodification of commodities, because in the market (wherever things are bought and sold)social nature of other people's work is not evident but the product of their work is highlighted and interacts. Promotional photography plays a pivotal role in Marxists' promulgation of false meanings in commodities in the process of increasing commodification. The essence of advertising in general and advertising photography in particular is to make something seemingly ordinary into an exciting image. This form of commercial photography is a sophisticated yet elaborate visual creation that invites the viewer to visualize a story based on the image rather than merely seeing objects in one view. This final essay shows how business photographers have a good understanding of what advertisers and critics are doing about prominent advertising; the role we play in creating meaning in advertising(Ramamurthy: 2013, 264-259). Advertising explains everything in its own specialized vocabulary. Advertising is interpreting the world. The whole world is turning to the context for fulfilling the promises of a good life. The world smiles at us. The world presents itself to us. Since it seems to present itself "everywhere," "So it must be everywhere" is almost identical (Berger, 2012: 105).

13. Case study photo of "Instruction at Home" in different contexts

Photo by Russell Lee, "Instruction at Home" (1939) (Figure 7) seems to be useful for analyzing contextual function; a young black woman with a cloth on her head wearing an old jumper on a blouse and dusty shoes. There are signs of home objects, including a blackboard. Part of this blackboard is written with: "It's raining" and then an alphabetical row. Two black teenagers are sitting on chair learning and calculating. Environmental factors such as a pitcher of water, a fireplace are also seen.

Figure 7: Russell Lee, Instruction at Home, 1939

Source: http://www.shorpy.com/node/14451?size=_original

Russell Lee's photo is passionate, humane and influential, but for whom and in what fields? Even a single, untranslatable photo can bear sometimes conflicting meanings in different contexts. If this photo is printed in a left party magazine and the title and text accompany it, the following reaction can be deduced from the perspective of a reformist: Blacks in the South are not allowed to read and write. Black villagers lived in the inhumane conditions of poverty, but they courageously worked to teach each other the most important skills to improve their community. So Russell Lee's photo captures the true nature of the black situation before the civil rights struggle of the 1960s. Now the same photo is printed in a right-wing magazine; a right-wing viewer gives a completely different inference: Blacks are a threat to American whites; they are despicable. Look at the phrase "it's raining" every 6-year-old white kid knows this better than them. Teaching them to read and write; they can only have right to vote among themselves. Blacks should not be sent to white schools because their general literacy is lower, they are likely to have food and social security vouchers, and they are precisely the burden of the white (Jussim, 1984: 154-155). Also, if this photo is displayed in an artistic space like a museum, it will have another function. In the museum space, the photo provides a special form of perception that comes from both the ability to capture a moment's recording and the sensitivity of art. As a result, both its qualitative and aesthetic potentials are judged as an art photograph and the visual narrative of the work is viewed from a historical period. The audience is almost free to highlight and give meaning to the work. For example, if the observer is a photographer, he would find the technique and aesthetic issues in this photograph far more prominent than its historical narrative, and if blacks see it, remember the oppression inflicted on blacks and their struggle for rights. This shows that a single photo, explicitly "Instruction at Home" and describing the same elements within the photo can produce different meanings. Also, the context of the photo is effective in the process of meaning and orientation of the meaning of the photo, so the meaning and understanding of the photo can be the result of the users' desire and context.

14. Conclusion

According to the above, one of the determining factors in understanding the image, texture or context is its presentation. Media owners are pursuing their goals and trying to bring the audience with new tools and methods. This is done through the technical facilities of the media and with the help of other media such as the art of photography to bring the concepts and messages desired into a new and attractive mode. Like other cultural-artistic products, photography usually promotes the dominant concepts in society as they are mass-produced. Photo media flexibility, along with its ability to link different media to one another, has become a reason for linking inter-media and intra-media elements such as photo-text linkage. Even the analysis of the internal factors of the photo is not possible without considering external factors such as subtitles and text. As noted in the text, in artistic spaces such as museums and galleries, photographs are deprived of their former meaning and function and are regarded as an artwork capable of aesthetic criticism and judgment. In such an environment, the audience has a greater freedom to understand the effect because anyone can highlight and decipher the code in the photo, and ultimately judge and criticize it in terms of political, gender and age. In the field of documentary, the purpose is more to show the reality and convey information, to inform the viewer of a subject or to draw attention to it. To this end, the photographer or messenger tries to make sense of it and even stimulate public opinion to improve social conditions and problems by choosing intra-media codes such as text or media, technical uses and even for photography like the photo of Ansel Adams who made these lands a national park because of his photos of Sierra Nevada. The same is true in the political and press contexts. However, the political advertiser, by choosing reality in his or her photos, encodes encryption that has both the incentive to read the message and the helping role to induce the political message they want. Like the political context, the media provides individuals with the means by which they create identities and meanings. Also, every ruling class needs to penetrate public opinion to survive and expand its ideology in order to expand and consolidate its control over society. In this regard, it is the most important propaganda tool, and photography has always been used as a medium for dealing with the community as a propaganda tool in such systems. On the other hand, governments or societies that are in need of self-defense and justification, use ideological methods to add to their followers. Throughout the history of photography, mono-graph has influenced hundreds of films, articles alone, and has played a key role in changing and directing public opinion. Induction of message and meaning in advertising is such that it turns something seemingly ordinary into an exciting and appealing commodity and, by symbolizing and magnifying the commodity, arouses a sense of need and fear in the audience."Advertising belongs to the future but getting to that future is endlessly delayed but still achievable, because the honesty of advertising is not judged by the actual fulfillment of its promises, but by the power of linking its fantasies to the viewer and the buyer.Its main application is not in the realm of reality but in the realm of fantasy. The individual is either fully aware of this contradiction and its causes and is pursuing a conflict that requires the destruction of capitalism or continues to live under the jealousy that derives from his/her unfinished feeling and lives on his/her fantasies (Burger, 2012: 101-100).

Post script

·       Robert Doisneau: French photographer (1912-1 1994) photographing on the streets of Paris in the 1930s. He is one of the most famous and influential photographers of the 20th century and one of the pioneers of news photography.

·       Beaumont Newhall: Author, Historian and American Photographer (1908-1993), his famous book is The History of Photography.

·       William Stott: Born 1940, American scholar and author

·       Ansel Adams: (1902-1988), an American photographer. Most famous for his photos of nature and the landscapes of the American West

·       John MuirTrai

·       Franklin Roosevelt:(1945-1882) 32th US president of the Democratic Party

·       King canyon: The name of the national park in northern Sierra Nevada

·       Life Magazine: It's an American weekly that focuses on news photos

·       Picture Post: It is a magazine focused on news photos in England (1938-1938).

·       Propaganda

·       Harold Lasswell

·       Helen Douglas

·       Edward (Edmund) Muskie (1914-1996).

·       Richard Nixon (1913-1994)

·       Michin

·       Carl Marx: he (1818-1818) is a revolutionary thinker, sociologist, historian, German economist and one of the most influential thinkers of all time. Marx, together with Friedrich Engels, published The Communist Declaration (1848), the most famous treatise in the history of the socialist movement. He is the author of the book "Capital".

·       Marxist: Followers of the school of Marxism, founded by Marx in the late 19th century.

·       Instruction at Home

Author Contributions: All authors contributed to this research.

Funding: Not applicable.

Conflict of Interest: The authors declare no conflict of interest.

Informed Consent Statement/Ethics Approval: Not applicable.