The over riding theme of this chapter is of how authenticity has been linked to self expression, as a genuine expression of what the photographer feels. However, this mode of photography, according to Soutter can appear clichéd and predictable, but the chapter does not discuss whether an authentic expression is true or not. She does start by stating:

Semiotics reduces the truth value of the photograph to a set of crackable codes (P70)

By this she means that a photograph can be constructed to appear authentic but does not need to be true. With this being the case, being authentic is reduced to just being an aesthetic that then bypasses the need for photographic truth; there is no moral need as there is with documentary photography.

She then discusses how this aesthetic works and how it needs the implicit consent of the viewer is needed to fulfil the impression of authenticity, and she claims:

Propose a connection between the subjectivity presented in the work and the subjectivity of the viewer. To achieve this, their desired affect is, above all, sincerity. (P72)

This I feel is important because it means that by using an impression of sincerity then the viewer believes what is presented to be authentic. If there is any hint of the image being constructed or managed by the photographer then the sincerity falls short and so hampers the authenticity.

She also mentions that authenticity is linked to the author. Part of the aesthetic of authenticity is an amateur aesthetic because it appears unconstructed, more like a snapshot capturing the moment, rather than a highly stylised composition. This in turn is linked to the author because of the perceived impulsiveness . Soutter then goes on to claim that for the authentic aesthetic to work it needs to be presented as part of a series, that one image on its own will not be convincing.

Another issue she raises is that for an image to appear authentic and to be linked to the author, it needs to fulfil some self expression and to be linked to internally located truth. This can reflect the photographers own morality or inspirations etc, but it needs to be, or appear to be, genuine. With requiring the need for the image to be genuine, it can be hampered, as mentioned above, by the image appearing constructed and not spontaneous and Soutter claims:

The project of authenticity involves the pursuit of self knowledge. At its core, authenticity involves withdrawing from any posturing or false self in order to turn inwards (P78)

Soutter then moves on to discuss how the work is presented. For example she uses the example of Jurgen Tillsman and how he arranges his exhibitions. They are constructed without a plan and go more on how he is feeling at the time, which leads to a very eclectic but personalised, and so authentic, way of exhibiting. The important factor here is that it appears unformulaic, unconstructed and spontaneous, which is then reflected in the artwork. As Soutter goes on to claim:

But style and presentation are also crucial to the way that viewers perceive the work. In keeping with the idea that authenticity is an on going project, it is important that the visual form of the work does not appear formulaic (P79)

She then talks about the photographs being an action. By this she means it’s a case of the images being a catalyst for certain emotions, for example to trigger a sense of enjoyment, that lead to certain mind states or emotions. Personally I feel this is part of the function of a photograph, that it communicates an emotional impression, and not just part of authenticity.

She then talks about how authenticity is used as a marketing tool, which seems to be a direct contradiction to authenticity. It shows of how it has been manipulated to help items sell, which in my mind undermines very notion of authenticity being genuine .

Though she sums up the chapter by reflecting on the relationship between the viewer and the artwork, that it is only the viewer who can judge whether a work of art is authentic or not. In a closing statement she says:

Despite attempts to articulate it in more concrete terms, the test of authenticity continues to rest largely in the eye of the beholder (P87)