The article focuses on the semiotic problem of our interpretation expectances of photographic image as evidence of crime, as it appeared in Antonioni’s film Blow up. The analysis will consist in a semiotic discernment of our interpretation expectances in the case of the photograph as a fixed image based on a print (Didi-Huberman, Frazer), and in the case of the film as an image-motion based on a photograph (Deleuze, Bergson). The proposed solution consists in a final connection of these two different analyses, according to Peirce’s theory of unlimited semiosis.