Unhealthy lifestyle dorothea lange migrant
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| Unhealthy Lifestyle: Discrepancy of in want migrant, Inhabitant River bivouac, near Sacramento, California. Representation boy has dysentery. |
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“I saw a dark figure approaching… and as he passed, he was pure Ireland, he was just made out of that wet, limey soil.”
Lange’s above quote accompanying the below photograph encapsulates the entire essence of Ireland, the people, and what she was trying to do.
Dorothea Lange had a rough childhood. Contracting polio before the age of eight, she walked with a limp for most of her life. Instead of studying and working on an education, Lange spent most of her time wandering the streets on New York. Finding pictures along these walks and collecting her favorites is thought to have sparked her interest in photography. She called this “acting like a photographer observer”. It was during these walks that she realized the beauty of the unknowing person.
Dorothea Lange (1895-1965) has been called America’s greatest documentary photographer. She is best known for her chronicles of the Great Depression and for her photographs of migratory farm workers. Below are 10 pre-World War II photographs she created for the U.S. Farm Security Administration (FSA) investigating living conditions of farm workers and their families in Western states such as California.
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THE OTHER MIGRANT MOTHER
By Michael Stones
How valid is the belief that darkroom or digital work cannot salvage a bad photograph? The answer depends on the reasons why the image is bad. Bad pictures include sharp images of fuzzy concepts, that Ansel Adams famously berated, and those conceived adeptly but with technical flaws. With the flaws repaired, some such pictures might be fabulous. This article explores that topic in the context of an overview and appraisal of the Migrant Mother series.
Early in 1936, photographer Dorothea Lange was driving home from a month’s assignment when she passed a sign for a peapicker camp near Nipomo in California. On impulse, she made a hurried detour to the camp, where she took a series of photos. That series includes Lange’s masterpiece: a portrait of a mother and her family, known thereafter as the Migrant Mother. Lange’s boss at the time, Roy Emerson Stryker, who headed up the New Deal’s photography project, described the Migrant Mother as the ultimate photo of the Depression Era, the picture of its time, and one that Lange and her cohort never surpassed. The acclaim still endures, as Stryker foresaw, eclipsing that of other great Depression era photos.
Lange’s titles her pictures locate them only with respect to demogra