However, Fiske explains that 'denotation is what is photographed, connotation is how it is photographed' (Fiske 1982, 91). In photography, denotation is foregrounded at the expense of connotation. The photographic signifier seems to be virtually identical with its signified, and the photograph appears to be a 'natural sign' produced without the intervention of a code (Hall 1980, 132).
Take the example of the cover of Paris Match, along with Barthes's own comments that the cover reflects the establishment's desire to maintain the 'myth' of the French Empire by representing it as 'natural':
"I am at the barber's, and a copy of Paris-Match is offered to me. On the cover, a young Negro in a French uniform is saluting, with his eyes uplifted, probably fixed on a fold of the tricolour. All this is the meaning of the picture. But, whether naively or not, I see very well what it signifies to me: that France is a great Empire, that all her sons, without any colour discrimination, faithfully serve under her flag, and that there is no better answer to the detractors of an alleged colonialism than the zeal shown by this Negro in serving his so-called oppressors. I am therefore again faced with a greater semiological system: there is a signifier, itself already formed with a previous system (a black soldier is giving the French salute); there is a signified (it is here a purposeful mixture of Frenchness and militariness); finally, there is a presence of the signified through the signifier... In myth (and this is the chief peculiarity of the latter), the signifier is already formed by the signs of the language... Myth has in fact a double function: it points out and it notifies, it makes us understand something and it imposes it on us..." (Barthes 1964)
