The photograph has been regarded as the testimony. At one point, Krauss depicted a photograph as a transfer off the real, owing to the fact that it is a photo chemically processed, to trace a casual connection with a particular thing in the real world. Krauss further observed that a photograph, refers parallel to a particular object. Although truth in a photograph is disputable, the painting in the truth in the photograph is indisputable (Sturken & Cartwright, 2001).
The photograph in this case presents a tension, owing to the fact that it is camera generated, and thus it combines both subjective and adjective features (Sturken & Cartwright, 2001). Although it may be mythical, it allows the connotation of literal meaning of the Weegee’s. In this case, the photograph sets an ideology, based on the projection that it is produced. In regards to the Weegee’s, the icons indicate that the individual’s looks have a symbolic meaning to any viewer. This indicates that there is curtaining of culture in the photograph, owing to the fact that it is specific on time, place and iconic representation that seeks to derive certain emotions and connotation (Sturken & Cartwright, 2001).
People attempt to interpret images either intentional or unintentional, in order to suggest a meaning. This is done by checking on the formal elements, such as color, tone, composition and contrast among others. The Weegee’s photograph has images of multiple personality from diverse and complex backgrounds. Although the image composes of school children in the early 1940s, who had just experienced a murder scene, it brings a collection of mixed feelings among the children. There is a heightened emotion in the photograph, as they are looking at the scene of murder with morose fascination, and this is evident in the photograph. There is neck craning and pushing, movement and emotions in their faces, which create juxtaposition at the scene of crime.