Sophie, the mime: the image resonates and means something to me because I have an emotional connection to the subject, to the setting, and I know the narrative story on either side of the frame. It may resonate with you because you happen to like children, or because the facial emotion is a strong an unambiguous one, or you like monochrome documentary portraiture, or for some other reason. But if it were executed differently, you may feel different about it – but not necessarily or consciously know why. It is up to the photographer to control the unconscious influences in such a way that at least their intended communication is fulfilled, but not in a way that draws attention to itself (and thus breaks that illusion).
After the huge amount of very interesting and thoughtful discussion that ensued in the comments – thank you for your thoughts, everybody – and a few days of settling time, I couldn’t leave the previous article on soul hanging inconclusively. There are few very interesting observations made, higher conclusions that one can draw from the responses here, and further logical leaps from contemplation of one’s own work and raison d’être. Firstly, a clarification though: I’m not looking for a magic formula to ‘inject soul’ into my own work, and I’ll explain why later. I was and am simply seeking to understand why certain images move certain people in a certain way – and if there’s anything one can use there to make a stronger image, given the choice, and providing of course it fits one’s own idea.