In the visual communication field, constantly being exposed to fraud incidents, making the public's trust in the photo has been shaking. It also makes the authenticity of photos as photography, especially photojournalism and visual communication in the hot academic topic St be able to believe the photos? Raised this issue contains two meanings, on the one hand, it shows the public still have a greater expectation of relevance of photos and reality; The other hand, despite that the photo appears to be the collapse of an evidentiary function, but the complex relationship between photo and the reality is emerging out. How to correctly use this language, establish a link between photographs and reality so that it continues to exercise positive functions, and how to help the public understand photography language, thought the relationship between the photos and the reality, have become important issues. In this context, based on the "The Research on Photographs to convince the audience of visual in the Digital era" subject of study, from two aspects of waiters and audience, the emerging online media impact analysis in the digital age, photos of waiters and issues facing the audience and how to form a picture information dissemination process.

First, since the information dissemination process identified the photo as the object of study, this paper is to start from the perspective of the audience, the audience receiving the information dissemination process photos decode information with the characteristics through case studies, namely the audience is photo selectively receiving information, they explain the significance of the photo is also very open, the audience is often one step further by reading and imagine themselves to participate in the photo were the scene. Interpretation of these studies by the audience of the photo is complex, and this complexity makes the photo spread in order to achieve the effect of those who pass from a subjective way possible to make adjustments to the picture.

Second, the combination of the visual image semiotics studies was based on mass audiences interpret blueprints habits and ways to photograph encoded by the visual image of the unique, realistic and symbolic to achieve convince visually. Classical persuasive case analysis, reflecting the communicator to convince the audience a visual way of indoctrination or not blindly accept exchanges but rather a dynamic propagation process.

The third, in the digital age, more advanced image processing technology, but also more convenient and simple, it is not only reflected in the production, transmission and preservation of greatly improving the efficiency aspect but also reflected in the operating costs are greatly reduced so popular. In this exchange process allows the dynamic propagation of visual deception even more apparent. 

There are many of photo studios in order to meet the needs of customers,  they made ‘the most beautiful ID photos’ to attract the attention of the public, which means the ID photo for customers will be edited, and it will more good looking than before. The owner's eyes will be magnified, the acne on the face will disappear, and the chin will look sharper.

I began to imagine the relationship between monitoring and people that existed in the real world.

Before the camera was invented, people used mirrors to know their looks. After the camera was invented, people began to know the looks of others through portraits.

John Stezaker’s work re-examines the various relationships to the photographic image: as documentation of truth, purveyor of memory, and symbol of modern culture. In his collages, Stezaker appropriates images found in books, magazines, and postcards and uses them as ‘readymades’. Through his elegant juxtapositions, Stezaker adopts the content and contexts of the original images to convey his own witty and poignant meanings.