I love that this chapter explores a number of different ideas that I previously had never associated Documentary photography with. It's interesting to read the author's standpoint on how the definition of this genre is always changing, and how there are many definitions to this one category of photography. From newspapers and magazines to street photography and war or history, this genre of photography spans across many different contexts.
One particular point that the author makes in this chapter that struck me was the Karin Becker Ohrn quote that says, "The photographer's goal was to bring the attention of an audience to the subject of his or her work and, in many cases, to pave the way for social change" (Wells, 69). These photographers have an intentional and real-world argument to make within their photos. Whenever I view Documentary style photographs, I always look for the underlying message of social change and I was curious if many other people seek this out in this style of photographs as well.
The introduction of technology to this discussion about Documentary photography caught my attention as well. It's so contradictory to think that these photos are authentic and real when they now have the potential to be altered in so many ways. Not only do we have to worry about the photographer manipulating the scene at hand, but how they can change these photos in the digital darkroom. This concept makes me wonder, is it really "un-authentic" if it's what the photographer intended to shoot to get their point of social change across?
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