Abstract
The work of analysis with photographic sources constitutes an impediment in the theoretical and methodological foundations for understanding them as visual language, a source of formation and information. As such, the article deals with the role of photography as a form of visual language composed of ideological signs; it discusses the importance of photographic sources as a collection of documents and presents ways of surpassing the threshold of the instrumental reading of photographic images. The study is justified by the substantive observation of the difficulty of students in reading texts constructed in the visual language, particularly photography. The bibliographical and documentary study, further supported by the dialectic, was based on authors who oppose the reading of photographic images from a positivist perspective. The results made it possible to recognize the nature of photographic images as visual historical sources, which allows the chronological reduction of their production and execution to be overcome.
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