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Photography in society
Immigration and Migration on Ellis Island essay
Immigration and Migration on Ellis Island essay
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For some, a picture is just a beautiful work of art, but for Lewis Hine photography was a way to communicate a message to the world. When Hine was taught the photographic process, it was still being established. This being said, photojournalism was also just evolving as a method to visually communicate information. In an effort to better his photography skills, Hine began to photograph the immigrants of Ellis Island. He was very adamant about social reform and reflected this in his work. Lewis Hine’s captivating photos inspired social change in America for the less fortunate.
Hine’s father passed away when he was still a child, forcing him to mature early and quickly learn the importance of hard work. Lewis Hine grew up in Oshkosh, Wisconsin during the late nineteenth and early twentieth century. He worked many jobs as a young man, some of which include a door-to-door salesman, a clerk, and a janitor. While working, he also took classes at the University of Wisconsin where he met Frank Manny. Manny, a professor at the Normal School, encouraged Hine to obtain a teaching certificate. Manny soon became director of New Yorks Ethical Culture School where he then hired Hine to be the geography and natural studies teacher. Being director of New Yorks Ethical Culture School Manny wanted a way to document school activities. Therefore Manny selected Hine to learn photography and teach a class, “A life in photography had begun.” In an effort to better understand the medium and inspire his students Hine went to Ellis Island to photograph immigrants coming to America. He also hoped that his photos would cause his students to “have the same regard for contemporary immigrants as they have for the Pilgrims who landed at Plymouth Rock.” H...
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...s saved by the Photo League and is now archived at the George Eastman House. His collection of work consists of 7,000 prints and over 4,000 negatives, as well as 117 pamphlets, catalogues, periodicals, reviews and articles. With time and our desire to preserve the past, his work has become an important part in the documenting of American history. Social reform is often necessary and thanks to the works of Lewis Hine children today can enjoy being a child.
Works Cited
Fuentes Santos, Mónica, Luis Miguel García Mora, Lewis Hine: From the collections of George Eastman House, International Museum of Photography and Film: Nederlands Fotomuseum, Rotterdam, 2013
Marien, Mary Warner. Photography A Cultural History. Upper Saddle River, NC: Prentice Hall, 2002.
Rosenblum, Naomi. A World History of Photography. New York, NY : Abbeville Publishing Group, 2007.
Nathaniel Philbrick opens his book by drawing a direct line from the early Pilgrim’s arrival on Plymouth rock to the building of America. He goes on to say, “Instead of the story we already know, it becomes the story we need to know.” Many of us growing up, myself included romanticize about the pilgrims in the light of the first Thanksgiving and we think about the Indians sitting down with the Pilgrims to take part of the Thanksgiving meal. Next, we believe the myth that everyone lived happily ever after.
Johnson, Brooks. Photography Speaks: 150 Photographers on their Art.” New York: Aperture Foundation Inc., 2004. Print.
It would be hard to imagine what mill life would have been like if it were not for American photographer, Lewis Hine. Hine was influential in bringing public awareness to many social issues of his time. Born in a rural town in Wisconsin in 1874, Hine dedicated his life to capturing America’s cultural landscape through the people in his photographs. He was there when thousands of immigrants took their first steps on American soil at Ellis Island. In World War One he captured on film the heroic efforts of the Red Cross (“Lewis Wickes Hine”). But most importantly for this paper, are his accounts of people in the mill villages and textile factories in rural America. Through some of his pictures, we will explore life in southern mill villages in the nineteen hundreds.
Tolmachev, I. (2010, March 15). A history of Photography Part 1: The Beginning. Retrieved Febraury 2014, from tuts+ Photography: http://photography.tutsplus.com/articles/a-history-of-photography-part-1-the-beginning--photo-1908
In addition to the notably simplistic design, the collection itself provides access to a remarkable breadth and depth of both classic and contempora...
Newhall, Beaumont. The History of Photography: from 1839 to the present. New York: Museum of Modern Art. 1982.
Rosenblum, Naomi . A History of Women Photographers . New York, NY: Abbeville Press Publishers, 2000.
Sontag, Susan. "Essay | Photography Enhances Our Understanding of the World." BookRags. BookRags. Web. 15 Apr. 2014.
Winogrand discovered photography at a point in time when unconventional photos were just beginning to emerge. Although it was thought that photojournalism had offered the most opportunity, this new and unconventional direction of photography was preferred. Artists were now able to shoot what they desired not what they were told to shoot. This revolutionary form of photography was based on emotion and intuition as opposed to precision and description. Exploring real life became more of the focus, instead of calculated or planned out pictures. In the early fifties, Winogrand attempted to become a freelance photographer, but the money he was making was not sufficient enough to support his new wife and children. He was forced to spend most of his time working for magazines such as Colliers, Redbook, and Sports Illustrated. At this time Winogrand’s photo’s had no distinction from any other photojournalist, but he always felt different and waited for the chance to prove it. He once said, “ The best stories were those that had no story line…on entertainers…or athletic contests, where the photographer could forget narrative and concentrate on movement, flesh, gesture, display, and human faces”(Szarkowski, p17).
Marrs, Suzanne. Eudora Welty(tm)s Photography: Images into Fiction. Critical Essays on Eudora Welty. W. Craig Turner and Lee Emling Harding. Boston, MA: G.K. Hall, 1989. 288-289.
W. Eugene Smith: Shadow and Substance : The Life and Work of an American Photographer by Jim Hughes
Boston, MA: St. Martin’s, 1998. Print. The. Bentz, Thomas, “New Immigrants: Portraits of Passage.” Kiniry and Rose 333-336.
Other prominent photographers whose prints moved the public were Jacob August Riis (1849 – 1914) and Lewis W. Hine (1874 – 1940). At age twenty-one, Danish photographer, Riis, immigrated to the United States, where he experienced the impoverished side of New York City. Four years after arriving, Riis was given the position of police reporter. He longed for a social reform, and published a book describing the condition of the slums, illustrated with drawings that were based on his original photographs.
As with everything in life, there is always a beginning and photojournalism. Without photojournalist, people not directly related to situations, would have never experienced the frontlines of war, the Great Depression, or the inhumanities of abortion. Photographically evaluating history is a way to analyze what once was and to forge ahead toward what will be. From its turn of the century birth, the professionals that have shaped and continue to form; its “Golden Era,” to its present day modern identity; photojournalism still proceeds.
... the first photographers to be able to take photos at night and he showed the public of the interiors of homes and factories in order to show vividly the living and working conditions of New York’s poor. He would then publicize the pictures in order to show the world what was going on in these parts of the country. Until the end of his life he continued to write and lecture about the conditions of America’s poor.