ssing the photograph on page 101, of the parting man and woman. Berger says, Perhaps they are speaking. We cannot hear their words. Perhaps they are saying nothing . . . (102). Berger would argue that this is the reason for ambiguity within the photograph, the viewers inability to know what is being said, if anything. But the viewers lack of knowledge or insight cannot affect the truth of the photograph. Berger mistakes his own shortcomings, his own ignorance, for ambiguity in the photograph. Berger is incapable of making an accurate reading and consequently conceives a personal reading. But the truth of the photograph, the same truth as any other photograph, remains unchanged. Again Berger, or any other viewer, is unqualified to see the truth.When posing his dilemma about the truths of photographs, Berger supposes that a photograph of a door would relate the same meaning as a photograph of a crying man (100). To analyze this further, what does a picture of a door relate, even if ambiguous? It is hard to create a meaning for a door, similar to a landscape. The reason being, the door is not ambiguous, the truth is unclouded. What does the photograph of a crying man convey? The image speaks the same truth, only details within the photograph disguise the truth allowing Berger to create a personal meaning. The crying man and the door both convey one truth, that of their existence and of the existence of life. Berger says that all photographs tell the past. The past is life and everything included in life, a singular truth. Life and existence vary greatly and photographs vary accordingly, but simultaneously they communicate one truth. Solid and real, the truth communicated cannot be debated. Crying men coexist with doors and their permanence may be captured on film; this is unambiguous and photographs of a single order of truth result....
