In its infancy, photography, like any new technology, was rudimentary, misunderstood, and somewhat of an elitist pursuit. The first photographs didn’t have widespread, rhetorical power because it was a new tool and not easily accessible. Over time, the world learned to trust the new phenomenon as undeniable truth and a means to capture what words or art endeavors could not. Once people began to understand it and use it as a tool against deceit, it did have powerful impacts on positive sociocultural and political realities. Nevertheless, culture eventually became oversaturated with photographs due to ever-advancing technology that stripped it of its “authoritarian” position, and nowadays photography can no longer be considered a dependable tool for change the way it has been used in the past. With that being said, I can visualize an “arc” of sorts over the history of cameras and photography—a rising action of establishment in cultural climate; a climax of profoundness; and, ultimately, a rapid period during which photographs dwindled into overly common, politically non-influential, ordinary part of culture. In other words, photographs have been stripped of their rhetorical power and hold no more sway than any other form of communciation.