Images of war, homelessness, and poverty also convey poignant messages that can be construed differently by different people. The photographer presents the image but the viewer deciphers it. When photographs like those from Walker Evans are used as journalistic content, they can become imbued with meaning and political ideology. Other images are less equivocal. For example, a shot of a homeless man sleeping on a bench in Beverly Hills would immediately connote income disparity in the United States. Another issue Nickel raises in "American Photographs Revisited" is the confluence of art and science in the medium of photography. Evans and other professional photographers and photojournalists craft their images, painstakingly addressing variables like lighting and atmospheric conditions with tweaks to their camera techniques. New technology including digital photography and editing software has expanded the range of possibilities for photographers. The art of photography is extended to book layout in works like American Photographs. Nickel points out that American Photographs became a prototype for subsequent photojournalism and photography compilations in terms of overall layout and feel.

Furthermore, as Nickel points out, Evans' photography is not solely about aesthetics. Aesthetics and subject matter both inform the meaning behind the photograph, which is frequently imbued with politics. The photographer's politics, the editor's politics, and the viewer's politics merge to create a form of dialogue. One of the reasons why Evans' work is historiography is because of its ability to stimulate dialogue decades after American Photographs was published. The controversies associated with Evans and his work provide supplementary context for the photographs, showing how political views and worldviews shift and change with each generation....

The way Evans' work is received in the 21st century is undoubtedly different than the way it was received when he had his camera in hand.
The photographer's personal perspective emerges in each shot, both through his or her composition and other aesthetics and also through the choice of subject matter. By choosing Americana and scenes from daily life in early 20th century America, Evans illustrated his affection for the country, its history, and people. Evans also captured contradictory elements in American society related to the income disparity and widespread unemployment that worsened with the Great Depression. He could have chosen to photograph nature but instead opted to reveal some of the darker or less rosy-looking features of American life. The choice speaks volumes about the photographer's politics, even if Evans denied being motivated by his political ideology. Mood, lighting, and compositional elements also create an ambiance for each photograph. That ambiance can be used to convey a political message, such as when a photographer purposely portrays people in favorable vs. unfavorable conditions.

Photography is a core feature of the American arts. However, photography is equally as important for American history and American journalism. Nickel's essay "American Photographs Revisited" explores the multifaceted media with aplomb. Bringing Evans' and Kirstein's backgrounds into the analysis aids the author's deconstruction of the seminal book. By elucidating their social class and educational backgrounds, for example, Nickel demonstrates how Evans and Kirstein were not unbiased. Their objective with American Photographs was to present a combination of historical documentary with artistic genius. Published by MoMA, the book was never intended to be photojournalistic or political but ended up being both.