Post on 30-Dec-2015
The Legacy of Lewis Hine and the Origins of Advocacy PhotographyFrom teacher & Social Worker to Photographic Artist
1874 – Born, Oshkosh WIParents: Douglas Hull Hine and Sarah Haynes
Hine
1892 – Graduates from Oshkosh High SchoolFather dies of accidental gun shot wound.
Works as:Laborer – upholstery factoryCasual laborer – firewood salesDelivery ClerkDoor-to-door salesmanJanitor, Collection AgentNight School: Stenographer & BookkeepingBookkeeperBank Clerk Teacher – Normal SchoolDiscovers he was: “neither physically nor temperamentally fitted for any of these jobs.”
1899 - Oshkosh Normal School / with Frank Manny
1900- University of Chicago with John Dewey
1901 – Ethical Cultural School – Frank Manny Director Hine - Instructor
1905 - Columbia University/ New York University
Professor Frank Manny – a mentor for a lifetime
1904 Marries Sarah Ann RichIn Oshkosh
Attends: Columbia School of Social Work
Meets Arthur Kellogg, editor of Charities and Commons and other progressive leaders
1912Corydon Wickes Hine is born
1903 – From camera club to Ellis Island Immigrants
1908 - Photography full time
1911 – National Child Labor Committee NCLC
Ellis Island Assignment:
Photograph immigrants arriving at Ellis Island so that the students “may have the same regard for contemporary immigrants as the have for the pilgrims who landed at Plymouth Rock.”
Frank A. Manny
1930-31 Empire State Building
1932 – “Men at Work” Published
1930’S – Depression era documentation & limited commissions.
1938 - Child Labor Reforms – Fair Labor Standards Act
1938 – Showing of work as art
1940 – Died, Dobbs Ferry, New York
Hineography“A style of witnessing social problems as a means of social uplift with consummate technical and artistic skill and unquestionable compassion for his subjects.”
HineographyThis style influenced documentary photography for decades, if Jacob Riis’s photographic style distanced the viewer form his working-class subjects, projecting fear inspiring images, Hine often drew the viewer to his subjects. He framed his targets from a middle distance a strategy dictated both by the technical limitations of his camera and his own straightforward manner.
Hine combined the ethnographic portrait and the commission studio portrait into a new variant, devising a “model for representing the Other that was esthetically and politically unprecedented.”
Hine transformed the ethnographic portrait by treating the ‘socially Inferior’ worker with the respect usually accorded the subject of a commissioned portrait.”
“In my early days of my child-labor activities I was an investigator with a camera attachment ... but the emphasis became reversed until the camera stole the whole show.”
1935
“There are two things I wanted to do. I wanted to show the things that had to be corrected. I wanted to show the things that had to be appreciated.”
“If I could tell the story in words, I wouldn't need to lug around a camera''.
“ While photographers may not lie, liars may photograph ''
“In the last analysis, good photography is a question of art”
Child Labor In America 1908 - 1912
investigative photographer for the National Child Labor Committee