According to Barthes it is especially the mechanical and thus objective status of photographic depiction – the photograph as a non-coded message – that enhances the myth of naturalness, because by its tight coupling with the depict- ed world it naturalises the symbolic layers of meaning. Furthermore, it is on the level of style that human interventions manifest themselves and a shift from the natural to the culturally coded occurs, thus triggering another layer of mean- ing. It was this notion of style that Barthes (2004: 47) described as the ‘third’ or ‘obtuse’ meaning. The term ‘meaning’ is – as.
