We are going to look at key movments in development of documentary photography, criticly reconsider relationship between subjecitv and objectiv in documentary photography , we are going to try to establish the relationship between positions of photography as a historical source and manipulation in documenting life and try to analize the position of documentary photography in contemporary digital era. Documentary photography has , from its creation, greatly marked human history documenting state of conscienes and physical reality through its vizual appearence. To conceive the adjectiv of documentaring, inside of documentary photography, we need to understand what makes photography documentary. Photography use as a medium has found its place in documentary world because of its tehnical nature of creation. Its tight connection with the presentation of reality alows it multipurpose usage possibility. Documentary photography caries with it self a value of a witness of a stopped moment in time and space. It is a inoformativ content possibility, and in the same time its a medium for personal expression. Documentary photography is always trying to express. If its to be any good at, it has to achive the right balans between objectiv content and arbitrary subjectiv copyright act of creation. It is using all means in order to bring the reality of the observer. Crucial in the photograph is an observer who in the whole discourse of documentary photography adds an element of personal semiotic and semantic nature. Context levels and experience through the use and function are enormous and are run through social, personal, moral, technical and artistic questions. Documentary photography is a gray area of practice and thus is subject todebate and theorisation. This paper deals with some relations of the elements that make up the practice and is trying to draw parallels between them in order to illuminate the world of documentary photographs.