Documentary photography is defined, contrasted and compared with other photographic forms in eight pages with the notable contributions of Alfred Steiglitz also examined. Six sources are cited in the bibliography.
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to shape the critical agenda of photography for much of the twentieth century. In fact, few individuals had actually exerted as much of an influence on twentieth-century art and culture,
in America, as the photographer and art dealer by the name of Alfred Stieglitz ("Biography, " 2001). Stieglitz was born in 1864 and so would live through some of
the most profound changes in the nation from the World War One to the Great Depression to the Second World War ("Biography," 2001). Photography had always been important to Stieglitz,
not only because it was the medium he used to express himself, but, more importantly, it was what he used to evaluate art in general (2001). He was ahead of
his time, realizing that photography would dominate cultural life in the twentieth century (2001). He was of course one of the original photographers over all. He began shooting during
the early 1880s, at time when the medium was in its infancy (2001). By the time this photographer would stop his work due to his declining health in 1937, photography
had changed dramatically, and a lot of the reason for that was due to Stieglitzs input. Fast forward to the
1980s and things change. From the 1980s to contemporary times, theoretical writing on art, film, popular culture, feminism and politics had changed notions held previously, concerning the medium. There
were various styles to emerge, such as documentary photography. An onlooker might ask, what is documentary photography and how does it differ from other forms? After all, it seems that
the camera takes similar pictures no matter who is flipping the switch. However, in the art world, things are not always what they seem. II. Documentary