Ways Of Seeing By John Berger

The original thought that photos were far superior to other visual aids have been re-evaluated in consideration of graphic artwork. The invention of photography initially provided the belief that a photo was simply a reproduction of the original. The progression of improved photographic equipment supplied the photographer with the choice of what to include or exclude from a picture. As an example, Jacob Riis transferred his belief of a sturdy, upstanding family with high morals into his photos by taking pictures of families in their apartments. However, his photo labeled “Five Cents A Spot” reflect an alternate picture of men and women packed in one apartment supported his viewpoint of the people’s poverty. Considering the subject matter of his reports it is a small wonder that his photos were not connected with a direct bias for both article and

The photograph exaggerated the effects of the Great Depression, and while it was utterly devastating, there was a new sense of hope and love that came out of the migrants who were mistreated. The photo created such a strong sense of pathos in hundreds that the photo created an identity for an entire era.

Growing up as a child, no one expects a young one to be out in the fields, in factories or even being a slave working their precious lives away. During one of America’s toughest generations, children were seen doing some of the same jobs and tasks that adults were having to take on. Making less than twenty to twenty five cents a day, children’s lives were at risk for nothing. As time went on, child labor laws were enacted to save children from abuse, neglect, serious injury and even death in the work place. As we sit in history classes, tour museums and take upon us the emotional and sometimes gruesome images from this time period, no words can describe how awful it must have been for one involved. But on the other hand, there was a positive side to the growth and construction of the American Nation through the New York City skyline. As one wraps up inside each photo, they most of the time do not realize who truly has captured them. Born Lewis Wickes Hine in Oshkosh, Wisconsin on Sept. 26, 1874, Hine was best known for his photography to reach prestigious goals of social reform. Producing some of the most emotional and life changing photographs of the time, Hine is to be considered a hero for many of many

Lange's narrative style accomplished its fullest expression in these years, particularly with photos like "Migrant Mother" becoming the main symbolism of what people had to endure during the Depression. Combined with her husband's composed documentation too, her photos were hailed as influential confirmation of the pressing obligation for government projects to help burdened

The book Paper Towns by John Green is a story about going past the imagination to actually know somebody. Quentin, who is convinced he is in love with the wild and adventurous Margo, goes on a journey to find her when she ran away. Through this journey, he finds a new Margo, the real Margo. Instead of imagining the Margo of his dreams, who is perfect and daring, he sees a different side, like looking through a fun house mirror. Using the theme of perceptions vs. reality, John Green shows readers through Quentin that you have to dig deeper in order to know and understand someone.

Dorothea Lange started taking photographs so she could document the misery of the American lower class. Lange wanted to make the lower class more visible so that she could encourage others to help. Dorothea Lange remained loyal to her principles by taking direct, unmanipulated footage of the social issues that were going on during the Great Depression. Lange tried to capture the image, but was more interested in the feeling and moods behind the image and the underlying connotation of the pictures. Lange’s main goal was to present her project to society in the true form that she observed the conditions and by this she wanted the portraits to reveal a deep understanding and sympathy towards her fellow human beings.

Men are presented in a uniform manner that doesn’t display emotional details. For the women, something as simple as stiletto high heels or makeup could send a message of promiscuity to men. (Are these things simple? I think Tannen wants to stress that nothing that marks a woman is quite “simple,” all things have meaning of some sort.) As the women presented themselves to the public, they surveyed themselves in order to manage the way men would see them. This way the woman could make adjustments to the way men would view and perceive her, thus giving the woman power to attract the ideal man by adapting to his personalized wants. (This strays from what I believe Tannen is trying to convey. Tannen says that women have no default way to present themselves and are forced to make a statement about themselves with every presentation, but never says their “statement” is specifically directed toward or focused on men. If you are trying to describe how being marked can be advantageous, this could be an excellent point with a wide variety of advantages, try not to look only in the realm of attraction. Perhaps discuss how Tannen only looks at the “always marked” nature of women as a negative, where it may not have to be. Perhaps the ease of being unmarked which is available to men could even be

During the Great Depression, Dorothea Lange photographed the unemployed men who wandered the streets. Her photographs of migrant workers were often presented with captions featuring the words of the workers themselves. Lange’s first exhibition, held in 1934, established her reputation as a skilled documentary photographer. In 1940, she

This picture that was taken by photographer Dorothea Lange is very reminiscent of another artist that I viewed a documentary on. This is the chief reason, among many, why I picked this picture out of the thousands in our book. The documentary touched on many aspects of photography in the depression. Such as the fact that the people in these pictures are not trained actors or models, the subject of these pictures are just regular people that were suffering in the depression. The picture does not have any vibrant colors in it, which also puts emphasis on the despair of the people in the picture. Another feature of this picture that caught my attention was that that the kids in the picture were looking away or were hard to notice, while the mother’s

This portrays how the family is alone and barely making it as they are all each other's comfort. The photograph is vague, but shows clearly enough to show the intimacy and need for each other in this family. Lange includes the children to show the broken family almost submerged in fear as the kids are tilted inwards almost like cowering away from the photographer as the mom lets her children touch her for comfort they all need. All the ragged and dirty clothing and background shows the hardness and limited opportunities in the Great Depression. Lange’s photograph lies directly at the mom’s face for the viewers to focus.

While in the Museum of Fine Arts in Boston, I traveled through the different galleries

In the 1930’s, Dorothea Lange was a well-known photographer for the Farm Security Administration and had recently been assigned to photograph rural areas where federal programs had been implemented. On her way home from an assignment in March 1936, Lange decided to make a stop at a pea-picking camp in Nipomo Mesa, California and was immediately drawn to a woman and her children. That woman was a 32-year-old migrant crop picker named Florence Owens Thompson who recently had come to the camp with her seven children, hoping to find work. Lange, intrigued by the woman’s worn looks and curious about her life, asked Thompson if she could photograph her and her family. According to Lange, she took six pictures of Thompson and her children, and asked Thompson no questions other than her age. One of the photographs taken that day was ‘Migrant Mother,’ which quickly rose to popularity after Lange sent it to the San Francisco News to be

Lange used to pass by uninvolved giving her to act and understand the world around her. The visual representation of her photographs and captions were able to enlarge the understanding of the impact of the Great Depression while also providing a more democratic visual representation of the nation. This is because her work at the Resettlement Administration “was able to generate a public information in the form of visual images that revealed the many faces of poverty in a manner that had generally been acclaimed as unsurpassed documentary artistry.” (Gawthrop, 1993, p. 511) She believed the images were able to inspire the respect and open-mindedness, qualities necessary for the success of democracy. She wanted to bring about the questions to

Lange was a professional who was able to come into the Farm Security Administration and make a photograph represent a national issue. “Despite the heavy, repetitious movements of field labor, her subjects often seemed unsettled, uncertain, disrupted, deracinated, and this was exactly what she wanted to communicate about the agricultural political economy.”(Gordon, 2006, p. 719). She was able to take the issues with field labor and bring the attention to to the pain and suffering of her migrant workers. Additionally, she wanted to highlight predominant themes within American culture. “Regeneration and renewal were popular themes in American Culture during the Great Depression, offering citizens convenient remedies for the sense of guilt and

The set of archive images that constitute Sultan and Mandel’s Evidence, were the culmination of two years research within an array of government agencies, educational institutions and corporations: from the Aeronutronic Ford Corporation, Newport Beach to the Veterans Administration Hospital, Palo Alto. The artists were granted access to millions of photographs within these spaces and therein embarked on a critical process of appropriation. As Sultan states, “Mike and I, through the act of selection, became authors”(BAMPFA, 2012). Throughout the work we are focused on the notion of the photograph as index: the trace of a footprint on wet paving slabs, a passport photo next to a hand print in sand. Despite this very specific reference the status of the photograph, as an empiric document, is continually questioned, not least in the title of the work. The concept of