are two most significant agencies in the development of documentary photography"

In this essay I will discuss the importance of these two associations, I will try to cover the main reasons for their existence and try to understand what this existence has done for society. Even though these two agencies were both set up to feed society with information using visual photography, the style and aims were very different.

First of all, I will talk about the FSA, who brought it about? and how it was controlled?

The Farm Security Administration was created in the department of agriculture in 1937. The FSA was a new deal program along with the RA (Resettlement Administration) designed to assist poor farmers during the Dust Bowl and the great depression. Many photographers were involved within the FSA including: Walker Evans, Dorothea Lange, Ben Shahn, Russell Lee, Howard Lieberman, and Edwin Locke. An important figure for the FSA was Roy Stryker who was head of a special photographic section in the RA and FSA from 1935-1942. Roy Stryker's unit was sent out on assignments throughout the United States and Puerto Rico. The office distributed photographic equipment and film, drew up b

From the research that I managed to get about Bourke-White she came across as being an incredibly hard worker with legendary stamina and perseverance, she was also charismatic and, by all accounts, beautiful. Inevitably, people wanted to help her, giving her story leads and access. (And she apparently had a sixth sense about who would turn out to be useful to her.) She came across to me as being a very intelligent lady completely exhilarated with her work but almost on a sub-conscious level. "[The] world was full of discoveries waiting to be made...(as a photographer) I could share the things I saw and learned...you would react to something all others might walk by."-Margaret Bourke-White's "Portrait of Myself" Like most photographers, she had the ability to focus her personality on the getting of the photograph - by being persuasive, charming, persistent, manipulative, whatever it took. On top of all this, she had an exalted view of the role of the photographer as witness and felt that "getting there" and sending back the word was a privilege and duty. This messianic view of her job must have given her a lot of energy. Even though I managed to get hold of a vast amount of information about her achievements with the company's she worked for nowhere did I find detailed accounts of her personality, what made her click? Was she happy or unhappy with the selection the editors of Life made of her work? (by the sounds of it she never had a big say as to what went in and what didn't, as she seemed to spend most of her time travelling around the world for her photographs). Was she thoughtful about her work? Did she ever look at it when she got home between assignments? Did she think about photography, talk about photography, think of photography as art, think of herself as an artist? Did she love photographic equipment (the way many photographers do) or was she afraid of it? It has been suggested that Bourke-White used so much film. Was it insecurity? Was it because she was mailing the film across the world to be processed? Was it because the competition between Life photographers was so fierce and she felt insecure about what she was getting? Did she get mesmerized by the act of photograp

Some common words found in the essay are:
Puerto Rico, Bourke-White's Portrait, Salgado Magnum, Sebastiao Salgado, Margaret Bourke-White's, Administration Magnum, Gulf War, Chim Seymour, Margaret Bourke-White, Security Administration, photographic unit's, farm security, world war, sebastiao salgado, selected images, photographic equipment, farm security administration, office distributed, security administration,
Approximate Word count = 1480
Approximate Pages = 6 (250 words per page double spaced)