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Dorothea Lange was an American documentary photographer and photojournalist, best known for her Depression-era work for the Farm Security Administration. Lange's photographs influenced the development of documentary photography and humanized the consequences of the Great Depression

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In  Dorothea Lange's  image, one of the most iconic of all documentary photographs, it shows a woman in a migrant pea-pickers camp. The children's faces turned away from the camera as they cling to her, as she holds an infant, and looks somberly, her face lined with worry, into the distance.

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The title Lange chose shows her sensitivity to America’s colonial past and the persistent struggle of former slaves, felt long after freedom had been granted. This image highlights her subject’s wrinkled face and gnarled hands—features she regularly emphasized to communicate human strife, as well as endurance, resilience, and strength.

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Lange’s images, Taylor’s words, field notes, and quotes from subjects to form a nuanced, affecting portrait of the Great Depression’s imprint on American life. Lange included this striking image in the book.

A rare published landscape in her oeuvre, it depicts a seemingly endless tract of U.S. 54, the road many Americans used as an escape route from the East to West Coasts during the Depression.

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Pledge of Allegiance, Raphael Weill Elementary School, San Francisco (1942)

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Pledge of Allegiance, Raphael Weill Elementary School, San Francisco (1942)

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Her task was fraught: to photograph Japanese Americans as they were marshalled into internment camps. The government intended these images to be purely documentary—not for publication—and locked away.

Lange brought her empathetic eye to the subject, focusing on the patriotism, emotions, and resilience of her subjects rather than any baseless wrongdoing.

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Walker Evans was an American photographer and photojournalist best known for his work for the Farm Security Administration documenting the effects of the Great Depression

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Evans selected for his seminal publication, American Photographs, the negative that shows Allie Mae at her most content, welcoming, and accessible. But in Let Us Now Praise Famous Men, Evans presented a more closed and irritated Allie Mae, a troubled victim of both the Depression and the camera's burrowing eye.

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During the winter months between 1938 and 1941, Evans strapped a camera to his midsection, cloaked it with his overcoat, and snaked a cable release down his suit sleeve to photograph New York City subway passengers unawares

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in the summer, as the U.S. began arming itself for war, Evans is commissioned by Fortune to photograph the munitions plants in Bridgeport, resulting in his first major portfolio for Fortune: “Bridgeport’s War Factories.” While there he also photographed patriotic marches and New England city scenes.

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Sent to the mid west by Fortune, Evans produces “Chicago: A Camera Exploration.” In Detroit, he shoots “The Rebirth of Ford” and again resorts to surreptitious portraiture for the Fortune portfolio, “Labor Anonymous.”