This chapter aims to analyze the Orthodoxorthodox theory approach to photographic communicationphotographic communication, using Robert HopkinsHopkins, R.’ theory as a reference. The primary goal is to identify the constraints he places on photography that led him to conclude that it cannot fully develop as a communicative representational art. The central point of the analysis will be the study of Paul GriceGrice, P.’s theory of communication, which HopkinsHopkins, R. adopts. There is evidence that GriceGrice, P. would oppose the idea that the use of photographs constitutes genuine communication. The critique of GriceGrice, P.’s thesis, which leads to this position, will be crucial for the viability of a theory of photographic communication. It will also be important to analyze HopkinsHopkins, R.’ assumptions about the nature of photography, in order to achieve a broader perspective on photographic communication. The main path for this expansion will be the study of the New Theorynew theory of the philosophy of photography. In LopesLopes, D.’ version of the New Theory, we will find the “social turnsocial turn,” which will be one of the foundational ideas of this book. As a result of the analyses in this chapter, we will reach a broader perspective on photographic communication, in line with Sperber and Wilson’s theory, in which communication can be thought of as composed of two layerstwo layers of communication: a foundational layer of informationfoundational layer of information about any subject and a second layer indicating that the first layer was intentionally manifested.