Untitled Photographs - Viewers Perception - A Back Foreword
In our world of street photography, the decision to leave images untitled can greatly influence the way viewers engage with and interpret the work. By omitting titles, photographers invite their audience to take a personal journey and look closer and for each individual to bring their own experiences, emotions, and perspectives to the image. Without a title to guide them, viewers can project their own memories and feelings onto the photograph. This personal connection can lead to a variety of interpretations, each unique to the viewer. Not having a title gives viewers a sense of ownership, allowing them to create their own stories and meanings.
Untitled photographs spark curiosity, making viewers want to look deeper into the image to discover its hidden layers. Without a title, viewers are encouraged to engage more actively, think about the context, emotions, and stories captured in the photo. This imaginative exploration can turn a simple street scene into a more thought-provoking experience. The absence of a title fosters a sense of ownership, allowing viewers to create their own stories and meanings.
For photographers, leaving images untitled can be a deliberate artistic choice, reflecting a need to prioritize the visual over the verbal. It can also show a respect for the viewer's interpretative free will, acknowledging that art is a collaborative dialogue between the creator and the audience.
In a world where we are bombarded with information, untitled street photography offers a refreshing break, encouraging viewers to slow down and engage with the image more deeply. By letting go of titles, photographers create space for personal connection, imaginative exploration, and a richer appreciation of the art. Ultimately, the untitled photograph becomes a testament to the power of visual storytelling, where every viewer's perception is an important part of the narrative.
What prompted this article is that Michael l’Anson recently introduced me to the concept of a “back foreword”, something he is looking to incorporate in his upcoming publication which is likely to be featured in KLICK 5. To paraphrase Michael’s explanation:
“ With a foreword being at the front of a book, after reading it, the reader then enters the book already knowing and perceiving something about it. The idea of a ‘back foreword’ is to present the foreword at the back of the book so that the reader decides for themselves about the books material before reading about the concept/narrative, etc at the back. The ‘Record Series’ of Daido Moriyama’s work uses this device. Moriyama does not include a foreword at the front as he feels it pre-empts to the reader what to expect in the coming pages.”
Perhaps it should be called a rearword or backword or similar, but whichever, it is a concept that I can embrace with a passion.