Photography is often perceived as an objective, and therefore unbiased, medium for documenting and preserving historic moments and national and world histories, and for visualizing and narrating news stories. But the choices made by a photographer—including how the image is composed, what is left in or out of the frame, and how it may be cropped, edited, or otherwise altered after it is taken—introduce a point-of-view into the photograph and inevitably impact how we receive and understand images. Such considerations raise critical questions about how willingly we accept any one photograph as a reflection of definitive truth.
Photographs can bear witness to history and even serve as catalysts for change. They can foster sympathy and raise awareness or, alternatively, offer critical commentary on historical people, places, and events. Throughout the history of the medium, photographers have aimed to capture the essence of events they witnessed—though the question of the trustworthiness of their images is always up for debate.
To explore more, click on each artwork thumbnail, then click again on the larger image that appears in the box above.
One who uses a camera or other means to produce photographs.
An image, especially a positive print, recorded by exposing a photosensitive surface to light, especially in a camera.
A representation of a person or thing in a work of art.
The materials used to create a work of art, and the categorization of art based on the materials used (for example, painting [or more specifically, watercolor], drawing, sculpture).
The method by which information is included or excluded from a photograph, film, or video. A photographer or filmmaker frames an image when he or she points a camera at a subject.
In photography, editing, typically by removing the outer edges of the image. This process may happen in the darkroom or on a computer.
The arrangement of the individual elements within a work of art so as to form a unified whole; also used to refer to a work of art, music, or literature, or its structure or organization.
To request, or the request for, the production of a work of art.
Questions & Activities
A Closer Look at Migrant Mother
Explore. Dorothea Lange’s Migrant Mother is one of the most iconic images of the Great Depression. Go to The Library of Congress website and look at the five images Lange took of this family.
Reflect. Do you think the image that was widely published was the most successful choice? Why or why not? Which of the images would you have chosen? Consider the framing, cropping, angle, and composition of the image. Summarize your thoughts in a one-page essay.
Art or Propaganda?
Commissioned by the federal government, photographs like Migrant Mother, Nipomo, California taken by FSA photographers often present compelling and poignant images of poverty-stricken people and places. Created to help justify and document federal aid, the enormous archive has sometimes been viewed as propagandistic. About this issue, Lange stated,
“Everything is propaganda for what you believe in, actually, isn’t it? I don’t see that it could be otherwise. The harder and the more deeply you believe in anything, the more in a sense you’re a propagandist. Conviction, propaganda, faith. I don’t know, I never have been able to come to the conclusion that that’s a bad word.”1
Reflect. Write a response essay to Lange’s statement. Conduct research on propaganda, citing one example you consider “good” propaganda and one example you consider “bad” propaganda. Argue your convictions.
Words vs. Images
Explore and Compare. Read reporter Donatella Lorch’s New York Times article about a particularly horrific episode during the Rwandan genocide. Compare Lorch’s written account to the photographs by Gilles Peress.
Reflect. When it comes to capturing such an atrocity, consider whether text or images have a more powerful impact. Which had a greater affect on you? Why? Write your ideas in a one- or two-page essay.