The article then goes on to talk about actual photography. Photography was relatively new at the time but still detailed an image much more effectively than would a painting or drawing. Photographs at the time were very bland. They only recorded what was there. The camera was given the nickname, the mirror with a memory. People who viewed a photograph were occasionally not able to see any aesthetically pleasing images. Later on, developments were made and cameras that were previously large became smaller and more portable. An example is the Kodak camera that shot higher quality shots.
Riiss goal was not to make pretty pictures. He used a primitive camera and his photos came out bleak compared to those from newer cameras. The picture called Five Cents a Spot on page 184 exemplifies this. The picture is clearly artless and bland. However, Riis liked that it showed the true setting. Virtually all photographers at the time had bias, and even Riis was included. Their shots were shot to make it as selective as possible to the photographer. The article goes on to give examples like Matthew Brady who dragged dead bodies in Civil War battlefields to make his picture more, picturesque. The authors tell the reader that a picture must be interpreted like an essay or piece of writing. The motive and goal of the author or photographer must be figured out.
Riis wrote about different ethnic groups when he was living in New York. He wrote about greedy Jews, drunken Irish, and sloppy Italians. Riis also wrote with Christian morality. He blamed the faults of the above mentioned people on the poor living conditions that they were in. Like any other photographer or author, Riiss motive must be figured out. It was already clear that he wanted change for the slums but in his pictures, the authors of the passage describe some pictures having Riiss Christian morality in play.
Riis highlights the needs for stable, wholesome families. The picture of page 191 is an example of a non-wholesome family. The home is supposed to be a resting place but factory work made its way into the home, making the entire family work. Photos like these were examples of Riiss motives behind his photos. The photo on page 193 called Room in a tenement flat showed a family portrait. The room that they were in was very crammed and Riis again shows a family in poor living conditions. Riis also photographed many children, like the ones in street arabs on page 195. The photo is heart wrenching and captivates any viewer because of the pitiful place they had to sleep in.
Although Riiss photos werent artistic in any way, he effectively conveyed and showed the harsh, unforgiving lifestyle that families and individuals lived in. By using the mirror with a memory, Riis was able to actually bring change for the better in the slums and reach his goal. He also proved that pictures really do tell the truth, and that the truth must be uncovered.