Ernst Haas

Today is the birthday of Ernst Haas. Haas was a photojournalist who is also considered one of the pioneers of color photography. In fact, in 1953, LIFE magazine published his photo essay which was the first color photo feature for the magazine. But the groundbreaking accomplishments do not end there. It seems a 1962 retrospective of his work was the first color photography exhibition held at the New York Museum of Modern Art (MoMA). So, for all those folks who have told me that photography is not art, please read that last sentence again. I am pretty sure that serves as evidence that photography IS considered art, at least by the good folks at MoMA. Just sayin’

If you are interested in exploring and enjoying the art of Mr. Haas, The Ernst Haas Estate has a website with his work. I have included the link HERE.

For my fellow photographers, I included this quote as something to think about. No judging. There is room for everyone at the photography table. But, it made me consider what type of photographer am I? What type photographer do I want to be? And, does my life reflect the photographer I want to be? (Yes. I am going through a deep-dive phase of exploring the process of creating art.) Do you know which type photographer you are?


Photographer Edward Curtis

"Kikisoblu (Princess Angeline) of the Duwamish" — the eldest daughter of Chief Seattle. 1896 portrait photograph by Edward S. Curtis.

Princess Angeline

Today is Edward Curtis’s birthday. Edward Curtis was a photographer, who, in my mind, crossed lines into the territory of what I consider a historian, and perhaps even a photojournalist. Officially, however, he is referred to as an “American photographer and ethnologist”. I have written a blog about him before (HERE).

His (circa) 1895 photograph of Princess Angeline (above) is considered his first portrait of a Native American. The rest, as the saying goes, is history. What intrigues me about his story is his dedication and determination. He literally gave up everything to pursue this passion of documenting Native Americans in a time when it was illegal for Native Americans to practice their customs. Clearly, he saw an urgency in documenting as many tribes, as well as their customs, languages, and rituals, before their way of life vanished. I realize there is controversy surrounding authenticity, etc., but I feel there are some stunning images that resulted from his work. For example, I could sit quietly with Princess Angeline for quite a while. Then, there is the Vanishing Race where only one of the warriors is looking back. That small moment becomes a metaphor for the past and a vanishing way of life. There are so many images that give me pause and make me ponder the stories.

So today, on Mr. Curtis’s birthday, have a look-see at some of the images he created which are housed at the Library of Congress.

Russell Lee Photography Exhibit

I have written about my admiration of Russell Lee photography before HERE. The Pie Town exhibit I wrote about was the first time I experienced Lee’s work in person. So, I was happy to learn about an exhibit of his work at the Temple Railroad and Heritage Museum in Temple, Texas. The exhibit contains photographs from the Dolph Briscoe Center in Austin, Texas and is on display in the temporary gallery of the Temple Railroad and Heritage Museum from January 27, 2018 – March 10, 2018. I have included the press release about the exhibit below.

Temple Railroad and Heritage Museum Press Release for Russell Lee Exhibit

The Temple Railroad and Heritage Museum is proud to host a new temporary exhibit featuring the photographs of renowned documentary photographer, Russell Lee. These photographs, on display through March 10th, showcase Lee’s stunning black and white images, focusing on topics such as politics, travel, industry and, most touchingly, the human condition.

Russell Lee came to photography after training as an engineer and a painter and left a legacy of more than 100,000 documentary images from the 1930s to the 1970s. Although best known for his large body of work for the Farm Security Administration (FSA) from 1936 to 1943, Lee also produced many significant series of images on his own and on other assignments, most of it while living in Austin, Texas, his chosen home.

This exhibit offers a rare glimpse into the images he produced in 1935 and 1936 when he first took up a camera and goes on to highlight the vast body of important work that Lee produced from 1947 through 1977. Although less familiar than his work for the FSA, Lee’s early work and his postwar photography highlight his interest in documenting the human condition and reflect his great talent and humanity.

This collection of digital prints is drawn from the archives of the Dolph Briscoe Center for American History at the University of Texas at Austin. The Briscoe Center’s Lee collection includes 3,639 photographic prints, 708 slides, 27,047 photographic negatives, and five color transparencies.

Russell Lee Photographs can be viewed with regular admission to the museum, Tuesday – Saturday, 10:00 a.m. – 4:00 p.m. and is part of the regular schedule of changing exhibits at the museum. The Temple Railroad and Heritage Museum is located at 315 W. Avenue B in downtown Temple. For more information about the exhibit or the museum, please visit or call 254-298-5194.

Russell Lee Photographs was organized by the Dolph Briscoe Center for American History, The University of Texas at Austin, and presented in partnership with Humanities Texas, the state affiliate of the National Endowment for the Humanities. Humanities Texas advances heritage, culture, and education and is based in Austin, Texas.


Happy Birthday Russell Lee

By Photographer not credited. (Self portrait with timer?) [Public domain], via Wikimedia Commons

Russell Lee was an American photographer/photojournalist who, like Dorothea Lange, was best known for the images he captured during his time with the Farm Security Administration (FSA). Although Lee received a degree in engineering, he was dissatisfied with his career as a chemical engineer. He ultimately gave up his engineering career and began painting. It was during this time that he began using a camera as a tool to assist with his paintings. The rest, as they say, is history. I, for one, am so glad he made his way to photography. His images are among my favorites.

I was fortunate to see the New Mexico Farm & Ranch Heritage Museum exhibit of Lee’s images. This particular exhibit included images Lee captured in the 1940s of Pie Town, New Mexico and its residents. I remember being so taken with his images that I went through the exhibit more than once. Although most of his images are beautiful black and white, this exhibit included a selection of images captured in color. Oh, and what colors they hold. Just look at this little beauty below.


Russell Lee [Public domain], via Wikimedia Commons

Happy birthday Mr. Lee!

Happy Birthday Dorothea Lange!

Happy birthday to Dorothea Lange! Yes, today is her birthday and the final post in this series celebrating Lange and her work.

The first week, we discussed Dorothea Lange’s portrait photography work, followed by her FSA work documenting migrant agricultural workers and rural America after the Depression and Dust Bowl. Last week, was an overview of her work documenting the Japanese American Internment during World War II. So, now we are moving on to the latter part of Lange’s life.

During the last two decades of her life, Dorothea Lange experienced reoccurring health issues. Many of her health problems were lasting effects of polio, but, even though Lange was in poor health, she continued to work as much as her health would allow. Her accomplishments during this period include co-founding a publishing house that produced periodicals and high-end photography books (Aperture), photo assignments for Life magazine, traveling, and teaching at the California School of Fine Arts (CSFA). During the better part of 1964-1965, Lange focused on curating a retrospective exhibit of her work at New York’s Museum of Modern Art (MoMA). Months before the MoMA exhibit opened (January 1996), Dorothea Lange passed away from esophageal cancer on October 11, 1965.

In Linda Gordon’s book, Dorothea Lange: A Life Beyond Limits, Gordon described an assignment that Lange gave her students at CSFA, which encouraged them to use photography to answer the question, “Where do I live?” If you have listened to any of Lange’s interviews or read much about her, you know she was not asking for a pedestrian answer, but rather asking the students to explore the answer on a deeper level. Apparently, one group of students challenged Lange to accept the same assignment – to photograph where SHE lived. From this challenge came the only self-portrait Lange made. However, just like the assignment, the self-portrait was not a typical self-portrait. The resulting images were of her foot which was affected by polio at age seven. Even though her foot was twisted as the result of polio, she did not seem to let it slow her down. She still managed to scale automobiles for a better photography vantage points, as evidenced by a few images of her. She was one of the most prolific photographers in the FSA, and her images were usually the most popular with the public. I chose this Dorothea Lange quote because she certainly seemed to employ this model in her own work. She used her photography as a vehicle to affect change by shedding light on current topics and events. Did her “model” work? I would argue, that even though many of her photographs were “impounded”, those photographs were recently released to the public bringing the subject to the forefront again. Her FSA work is some of the most recognized photos from that program. I would like to think that she is still affecting change decades after she originally made the images.


Dorothea Lange: A Life Beyond Limits by Linda Gordon

Dorothea Lange: Grab a Hunk of Lightning

Dorothea Lange Photographs – Library of Congress

Impounded: Dorothea Lange’s Censored Photographs of the Japanese American Internment during World War II

Photographs of an Episode That Lives in Infamy (The New York Times)

Dorothea Lange: Drawing Beauty Out of Desolation (NPR Morning Edition)

Dorothea Lange: A Life Beyond Limits (Dodho Magazine)

Dorothea Lange Biography (

Dorothea Lange Biography (The Art Story)

Feature Friday: Dorothea Lange (Part III)

Lange, Dorothea, photographer. Oakland, Calif., Mar. 1942. A large sign reading “I am an American” placed in the window of a store, at 13th and Franklin streets, on December 8, the day after Pearl Harbor. The store was closed following orders to persons of Japanese descent to evacuate from certain West Coast areas. The owner, a University of California graduate, will be housed with hundreds of evacuees in War Relocation Authority centers for the duration of the war. California Oakland, 1942. Mar. Photograph. Retrieved from the Library of Congress,

Here we are in week three already. Last week was all about Dorothea Lange’s transformation from portrait and studio work, to documentary work with the Farm Security Administration (FSA). The FSA terminated Lange January 1, 1940 and completely disbanded in 1943.  Many of the FSA photographers considered their time at the FSA a highpoint of their career. This was particularly true for Lange who took her termination hard and continued to search for projects that would be like the FSA work. This week, we will discover that she used her camera to document another group of Americans whom she hoped to aid with her images. Unfortunately, her work was hindered in many ways, and many of the resulting images were impounded and stored in the National Archives. Many of these images were unknown and unseen until recently. So, let’s explore her work now, shall we?

In 1942, Lange was hired to photograph the incarceration process of more than 100,000 Japanese Americans. Why? What did these Americans of Japanese ancestry do that would warrant incarceration you might ask? Well, they MIGHT be disloyal. So, your follow-up question might be: Why would Dorothea Lange want to become involved in such a project? Lange saw an opportunity to create a photographic narrative telling the story of what was happening to this group of Americans based solely on race. Ultimately, since Lange was required to provide all film, negatives, and prints; having no other access to her work, she did not see the resulting images from this work until 1964.

I find this body of work very difficult to write about without inserting my own opinion. I hope you will search and read more information about Lange’s work, as well as read about the internment of Americans during this period, because, as George Santayana said, “Those who cannot remember the past are condemned to repeat it”. Form your own opinion. But, from a purely artistic standpoint, you should appreciate that Dorothea Lange created classic images in less than optimal conditions. She put her Guggenheim Fellowship for excellence in photography on hold to pursue this documentary work which was not made available to the public until recently. PBS’s American Masters has a documentary titled Picturing Japanese American Internment: Dorothea Lange that may be of interest.

Feature Friday: Dorothea Lange (Part II)

By Dorothea Lange, Farm Security Administration / Office of War Information / Office of Emergency Management / Resettlement Administration [Public domain], via Wikimedia Commons

We are in the second week of celebrating Dorothea Lange. Last week, we set the foundation of Lange’s work as a successful high-end portrait photographer. So, how did this “city-girl” evolve into a documentary photographer best known for documentation of rural America, agriculture, agriculture workers, and their hardships? Hold on to your virtual hats because Lange is taking us on a ride documenting rural America.

Perhaps a family “time-out” played a pivotal role in Lange’s shift to documentary photography. Lange, husband (Maynard Dixon), and their two sons relocated to New Mexico for a period of time in the 1920’s to take refuge from the Depression. During her time in New Mexico, Lange photographed many of the residents and, when they returned to San Francisco, it seems her focus had shifted from portrait photography to what might be termed “street photography”. (See: “The White Angel Breadline” (1933)) Lange began to use her camera as a tool to document and affect social change. Before long, her portrait experience also became apparent in the way in which she captured the people she was photographing. Her humanization of these people set her apart and people began to notice her documentary work. One person who noticed her work was Paul Taylor, Professor of Economics at the University of California. Eventually, Lange and Taylor married and set about the rural areas as a team for the federal Resettlement Administration (RA) documenting rural poverty, exploitation of agricultural workers, as well as the changing landscape of agriculture. The RA latter became known as the Farm Security Administration (FSA), and although Lange was hired as “typist” because that was the only job available for her at the time, her images became popular RA/FSA images which were shared with the media. Among the more popular images is Lange’s “Migrant Mother” pictured above.  This image has always captivated me. It captures the subject, Florence Owens Thompson, so beautifully. To me, it conveys her strength and beauty. Yes, strength and beauty become redundant in this instance.

I hope you will take a minute to really look at this image. Look at the tight crop of the subject, yet all the information that is contained in the canvas predominantly filled with the subject. We see her worried face. We see three children “framing” her in a sort of triangle, which is symbolic of strength. I was so captivated the first few times I saw this image, I almost missed the sleeping infant in her lap. Oh my goodness! You have empathy for what this woman and her family are experiencing, but OH! what an image. This picture is truly worth a thousand words – or a thousand adjectives at least.  I would love to hear what you see in this image, so please comment and share.

Dorothea Lange: Part 1

Edited and converted to JPEG by en:User:Moondigger at en.wikipedia - This image is available from the United States Library of Congress's Prints and Photographs division under the digital ID fsa.8b27245.This tag does not indicate the copyright status of the attached work. A normal copyright tag is still required. See Commons:Licensing for more information.العربية | čeština | Deutsch | English | español | فارسی | suomi | français | magyar | italiano | македонски | മലയാളം | Nederlands | polski | português | русский | slovenčina | slovenščina | Türkçe | українська | 中文 | 中文(简体)‎ | 中文(繁體)‎ | +/−FSA photo by Rondal Partridge via Library of Congress, Prints and Photographs Division, reproduction number LC-DIG-fsa-8b27245digital scan of the original negative, 20MB TIFF file, Public Domain,

By Rondal PartridgeFarm Security Administration / Office of War Information / Office of Emergency Management / Resettlement Administration

During the month of May, I will be adding posts about American Photographer, Dorothea Lange (May 26, 1895 – October 11, 1965). Lange is known as one of the preeminent documentary photographers of the 20th century. Lange’s images are some of the best known, most recognizable images of the 20th century. And, even though viewers recognize the images, they may not know the artist’s name who is responsible for the images, or anything about her. I recently read Dorothea Lange: A Life Beyond Limits by Linda Gordon. The Dorothea Lange biography provided some insight into who Dorothea Lange was as a woman, a wife, a mother, an artist, a photographer, and a business woman. But, let’s start at the beginning. Shall we?

Dorothea Nutzhorn was born on May 26, 1895, in Hoboken, New Jersey. There were two pivotal events in her early childhood that played a large part in shaping her life. The first was contracting polio at the age of 7 which left her right leg and foot weak and twisted. The second event was the divorce of her parents when Lange was a teen. The divorce had such an effect on her that she eventually changed her last name to Lange; her mother’s maiden name.

As a young woman, Lange and a friend decided to travel and go on an adventure. Unfortunately, their first stop was San Francisco where all their funds were stolen. Apparently, Lange did not let this color her new adventure. She was resourceful and called upon her experience with photography to opened a portrait studio in San Francisco.  While circumstance changed her plans, over time, Lange managed to build a very successful upscale portrait studio. Her studio also became a gathering place for artists and wealthy patrons in the San Francisco community. One of those artists, was the renowned painter, Maynard Dixon. Eventually, Lange and Dixon married and had two children. Lange’s studio work became the primary income for her family.

So how did this successful business woman, running an upscale portrait studio which catered to the wealthy, high cultured San Francisco crowd come to photograph the rural environs and people after the Great Depression? Oh my, let’s discuss it next week. But until then, just ponder what she accomplished in an era when women were not encouraged to be entrepreneurs, artists, or adventure seekers.