Born May 26, 1895 in New Jersey, Dorothea Lange became a pioneer of Depression era photography, giving a real face to the plight of thousands of displaced Americans. Her photos still hang on the walls of America’s greatest museums, a testament to her skill as a photographer and the life she chose to live.
Having studied photography at Columbia University, Lange began her career as a portrait photographer in New York. Itchy feet would make her move quickly and her nation wide travel shows in all of her works. She was in San Francisco when the Depression began to close its grip tightly around the plain states and as the dust bowl grew, she made her way into its depth and began shooting.
“While there is perhaps a province in which the photograph can tell us nothing more than what we see with our own eyes, there is another in which it proves to us how little our eyes permit us to see.”
- Dorothea Lange
In 1935, the government had introduced a number of programs to provide employment for the disposed including many of the nation’s artists. Lange was hired by the Farm Security Administration to go out into the countryside and take pictures of the people and places struck by the Dustbowl, the high unemployment and indeed the rampant starvation of the period. Her pictures are poignant black and white studies that, as Lange liked to say “let you see without the camera.”
In her time, Lange married a painter and an economist exemplifying her fascination with both art and the realities of the world. A depiction of a homeless mother with her two small children wondering if the husband would ever return, her pictures of broken down cars discarded on the trail west, picket lines and bread lines, migrant workers, ruined homesteaders, immigrants, farmers, and every kind of human condition was the subject of her photography. Lange was a part of the documentary film movement that was taken place in America during the 30s when the dreams of the 20s had fallen flat and the nation became a land of realists.
After the Depression, Lange moved on to photographing World War II on the home front. Her subjects went from breadline to internment camp and the faces of migrant farmers were replaced with interred Japanese Americans. Later she traveled to Ireland and Vietnam and her work appeared on the cover of “LIFE” magazine several times. In her final years she taught photography at the California School of Fine Arts and co-founded the photography magazine “Aperture.” Lange passed away after long illness in October of 1965.
One of my favorite Americans will always be Dorothea Lange. She used the camera lens to document real American life on a large scale during a time when the country suffered greatly. Her pictures continue to grace the pages of school books that discuss the depression as her blunt earthy portrayals of life during that era remain unsurpassed by government statistics or even newspaper headlines. Rockwell has his place in depicting the different aspects of American culture but Lange will always remain for me a pioneer of documentary art and a great example as photography as advocate for the people.
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Tags: 1930s America, 1935, American photography, Depression, Depression Era photography, documentary film movement, Dorothea Lange, homesteaders, immigrants, Lange, LIFE magazine, migrant mother, migrant workers, Photography, the dustbowl, World War II, World War II photography, WWII

We’ve all heard the longstanding tales of alligators running rampant in the sewers of New York City. The logic goes that baby gators were purchased as pets, either in local pet stores or by tourists vacationing in Florida. After quickly outgrowing the confines of their owners’ apartments, they were flushed down toilets and into the sewer system, where they soon bred and infested the labyrinthine network of pipes tunnels beneath Manhattan.
The sewer component first entered into the myth three years later, after a gang of teenage boys spotted a moving shape beneath them as they shoveled snow into an open manhole cover near the Harlem River. Using a makeshift lasso, they were able to snag the animal’s neck and haul it to surface – where they quickly realized they caught a live alligator. The gator lunged and, in response, the boys beat it to death with their shovels. After dragging the carcass to nearby garage, it was determined that the beast weighed 125 pounds and measured some seven-and-a-half feet in length.
When no gators turned up, May decided to take a look for himself. Upon visiting an undisclosed location somewhere in the five boroughs, he stumbled upon a so-called “colony” of the creatures – which measured roughly two feet apiece — living in the sewers’ shallow waters. Highly distressed by his discovery, May claimed that he had all of the animals exterminated, though no corroborating account as ever emerged to verify his story.





