“Photography as Activism” attempts to define documentary as a Photographic form due to constant transitioning describing this concept as multi-layered, complicated, and varied. A methodology of aesthetic that is applied to a broad range of imagery from traditional, straight reported imagery to inaccurate digitally manipulated imagery making appearances upon gallery walls. Bogre goes on to quote Walker Evans explaining that all Photography is somewhat documentary as this documents something that appeared upon camera whether we document this for sentimental value or to show others who did not witness this moment whether we keep this image for eternity or as long as desired.
Edward Steichen reviews photographs from the Farm Security Administration Photography unit referring to images that held power to draw an emotional response from viewers leading to the popularity of emotionally charged images. Thus, resulting in Photojournalism becoming increasingly popular as this offers viewers an emotional response regardless of being true or accurate to the scene being represented. I personally agree that the success of Photojournalism is due to emotionally charged responses as controversy and morbidity sells sparking discussion and memorable information whether this will be slightly or heavily manipulated. Bogre claims that Documentary Photography is about the means, approach, subject and then context the image does not need to be exotic or dramatic if it is relevant, accurate and displayed within the right context the image itself almost becomes irrelevant. Commonly I would disagree with images not being exotic as exotic and sexually charged images always carrier higher success rates alongside becoming memorable due to visual pleasure or controversy.
Bogre recognises the many valid critics of the documentary genre with so many characteristics of bias being applied to reading and creating images resulting in a photograph that cannot be true. Bias will always remain even is this out of sight of the viewers or possibly subconscious to the photographer/reader. Bogre summarises Rosler critical essays assuming that photographs capture disadvantaged people in order to boost their profiles she does make valid points that the photographers do not care about these individuals thus only caring about capturing the moment in order to gain profit. Photographers are not fighting for a greater social change however this is an unfair generalisation.
In a later chapter titled “Modern History” Bogre discusses the history of Photojournalism and documentary work within modern times as war is a great source of drama therefore media outlets can consume this. Possibly a reason that Rosler becomes critical due to being surrounded by who desire to find conflict as this situation appears photographers desperately flood this area coming home to find respect and admiration. The function of documentary and journalism is significant as this is more immersive as photography holds the power to dramatize the most bland of scenes elevating one to much drama when taken at the right, decisive moment immersing viewers into a fictional visual scenario.