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Roy Emerson Stryker - An uncommon commitment to photography in Americaby Sean Cayton
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A couple
of weeks ago, I was assigned to photograph the owners, Dick
and Judy Noyes, now in their seventies and retiring from
the business. We met at the store, which was selling off
all of its inventory and getting ready to close its doors. The bookshelves were nearly empty and as I made portraits of them and the comings and goings of staff, my eye caught an empty section of bookshelves. It was the same section I was always drawn to as a student. |
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There, sitting
alone on a shelf was, ‘In this Proud Land, America
1935-1943 as seen in the FSA photographs’ by Roy Emerson Stryker
and Nancy Wood.
The cover showed a picture of a migrant mother by FSA photographer Dorothea
Lange. It is an icon of the time and of the collection which was produced
by a handful of documentary photographers under the direction of Stryker
during the Farm Securities Administration.
I was fascinated by the book. After finishing my assignment, I paid all
of $13.50 for it. It was also marked USED.
The book contained a selection of 200 photographs from
Stryker’s
personal collection from the FSA project.
Stryker’s FSA project generated 270,000 images,
sparked the careers of a handful of photographers and
helped to give rise to pictures magazines
such as LIFE.
We might not appreciate it today, but the roots of contemporary photojournalism
are deeply embedded in the approach of the FSA photographers, the editing
and direction of the project by Stryker and the subsequent body of work
that became known as the FSA photographs.
In the introduction to the pictures, Stryker is clear about what purposes
he believes photography serves. He also shared strong opinions on the
difference between the FSA project and the news photography and photojournalism
of magazines that would come later.
It was like Stryker was imparting a wisdom about the contribution of
photography to history. He was also imparting advice to those who wish
to document history in pictures.
‘ Too many times nowadays the picture is expected to tell the whole story,
when in truth there’s only one picture in a hundred thousand that can stand
alone as a piece of communication,’ he writes.
And, he continues: ‘... the news picture is a single frame; ours,
a subject viewed in a series. The news picture is dramatic, all subject
and action. Ours shows what’s back of the action. It is a broader
statement — frequently a mood, an accent, but more frequently
a sketch and not infrequently a story.’
The pictures in the book are salient and represent both a period of history
and, more intimately, the proud lives of the people who were quietly
living through the depression.
‘ We introduced Americans to America...(the work) helped connect one generation’s
image of itself with the reality of its own time in history.’
I was struck by his comments and how they relate to my own career in
photojournalism.
Pictures, ultimately, have a life of their own. They help to identify
a period. They are representative of our uniquely American experience,
and of the values we hold.
What contributions can photographers make today to help show our period
and the people living in it, I wonder?
Can we continue to show America to itself and with the honesty that Stryker
insisted on from his own photographers?
During an interview with co-author Nancy Wood later in the book, Stryker
gives us a clue.
‘ It can’t happen again. But something new will happen. Something
different. I wish to hell I could be around to do it.’
I wish he were around to do it too. I wish I could have had an opportunity
to work with him. He was an editor that understood what photography
could become and how photography functions within the fabric of history.
I don’t think Stryker has to worry too much about
his own contribution to photography though.
His influence can be traced in today’s pictures and in today’s
picture projects. It can be found in the approach many photographers
bring to their work.
Stryker is still influencing picture editors, I’m
sure. Specifically, those that consider a longer view,
outside the daily or weekly deadlines
of many publications.
Sean Cayton
Sean@caytonphotography.com
http://www.caytonphotography.com
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