In the medium of photography, we have finally come away from the belief of rendering an objective representation of reality. It would therefore be nonsense to insist on any particular method or technology, and to claim to be able to produce documentary images. Documentary photography can now only be defined as an attitude towards the world, as an implicit interest in people and objects, processes and structures in connection with an implicit interest for photography.
In terms of documentary photography, we must query not only the topics it depicts, but also photography itself. The interchange of images between us and the world around us, and their reflection back to the world by us influences not only the way images are perceived, but also the world itself. The interrelationship of perception and photography raises questions in terms of the construct of the world in the images and of methods of representation. The objective of involved and relevant documentary photography must be to uncover connections and to reveal circumstances, which need to be reduced to a single image in order for us to perceive them.
In order to develop individual photography series with high artistic quality, we cannot avoid the confrontation of the history and theory of photography and well-known as well as lesser known photographic standpoints. This confrontation therefore plays a part of the learning experience, which is just as important as practical photography.