WATERVILLE — This summer, Colby College’s Museum of Art is exploring the emergence of documentary-style photography in America and its far-reaching impact.

In the early 19th century, critics maintained that photography wasn’t a serious art form because images were created mechanically, with a camera.

That viewpoint changed toward the end of the century, however, with authorities recognizing the talents required to capture spontaneity, view the world through unusual perspectives, use light and shade creatively, focus on composition and use the camera expertly. Today, photographs was displayed in fine art museums worldwide.

On exhibit at Colby are 94 black-and-white images taken by three famous photographers of the 1930s: Berenice Abbott, Walker Evans and Margaret Bourke-White.

Documenting the values and struggles of our nation during the Great Depression, the three photographers expose two sides of America: corporate power and abject poverty.

Abbott captures New York City’s skyscrapers and other cosmopolitan sights of city life through unusual perspectives. Evans’ photographs, like John Steinbeck’s “Grapes of Wrath” novel, document and expose the suffering of humanity in America during the 1930s.

Some of Bourke-White’s photos reveal the growing emphasis of big corporations in America and the assembly line culture developing in the 1930s, as seen in “Chrysler Corporation” and “International Silver,” respectively. Other moving Bourke-White photographs, like her poignant and well-known “Okefenokee Swamp, Georgia,” depict the poverty common in 1936.

When viewing images in the “American Modern: Documentary Photography of Abbott, Evans and Bourke-White” exhibit, you will see a powerful focus on faces, unique perspectives of buildings and industrial sites, and compelling images with sharp tonal contrasts.

The photographs speak volumes about our nation and its struggles, in cities as well as rural communities, to survive the Depression. The most memorable for me are Evans’ images documenting America’s usually forgotten downtrodden. His sense of spontaneity and focus on composition are especially captivating.

Documentary photography enriches our lives by reflecting a mirror image of important events and meaningful struggles. Fine photography is a timeless art form, something that is especially true of the images on exhibit at Colby given our shaky economy.

Artistic photographs require more than accurate depictions and good technique. They should communicate clearly without words — something that is done very well with images in “American Modern Documentary Photography of Abbott, Evans and Bourke-White.”

The photographs, which will be exhibited through Oct. 2, are on loan from major museums, including the Research Center, Syracuse University Library; Museum of Modern Art, Addison Gallery of American Art at Phililps Academy; and Norma B. Marin collection, the Amon Carter Museum.

“Special lighting was arranged for different photographs because of their sensitivity to light in order to protect them. It was a creative challenge to hang the show,” said Greg Williams, assistant director of the museum.

Museum hours are 10 a.m. to 5 p.m. Tuesday through Saturday; and noon to 5 p.m. Sunday. Admission is free.

Pat Davidson Reef has a master’s degree in education and has written two children’s books, “Dahlov Ipcar, Artist,” and “Bernard Langlais, Sculptor.”

This image taken by Berenice Abbott in 1936 is titled “Canyon: Broadway and Exchange Place.” The gelatin print, on loan from the National Gallery of Art, a gift of Marvin Breckinridge Patterson, is part of Colby College’s major summer exhibit of documentary photography, showing through Oct. 2.

This image taken by Berenice Abbott in 1936 is titled “Canyon: Broadway and Exchange Place.” The gelatin print, on loan from the National Gallery of Art, a gift of Marvin Breckinridge Patterson, is part of Colby College’s major summer exhibit of documentary photography, showing through Oct. 2.