In, Around, and Afterthoughts

Martha Rosler focuses on the legitimacy of present day documentary photography. She compares contemporary photographs (that which are posed, manipulated or "camouflaged") to past photographs solely used for "artless" documentation. Rosler believes that photographs now are infected with the agenda of the photographer and are put to use by swaying the populations' beliefs towards the beliefs of the elite. "A new generation of photographers has directed the documentary approach toward more personal ends."
Rosler uses the example of "drunks" to expose the contemporary images are influencing the public in the "wrong" way. These images (according to her) put the blame on the subject (the "drunks") in order to keep the unemployment rate, as well as many other socio-political/economical standards, in check. These photographs make an example of the poor and unfortunate, and subtly pose a warning to the public. For these reasons documentary photography is not "real" and still has a long way to go before it can "cure" social injustices.