Roy stryker biography

Soon Stryker, Tugwell's former student assistant, would also head to Washington, D. Rex Tugwell knew that if the RA program was to be successful, he would first have to educate the American public about the conditions the rural poor were facing in the s. So Tugwell created the Historical Section within the RA's Division of Information and, with the power of photographs in mind, named Roy Stryker to administer the section.

Tugwell defended the section from members of Congress who were determined that no pictures would come out of their districts; he allowed Stryker the freedom to run the section. Although Stryker never became a photographer himself, he was acutely aware that a camera could be a device for recording history. One of the key purposes of the New Deal programs of the s was to give economic aid to American farmers.

The Resettlement Administration RA , established in , directed its efforts toward helping small farmers, who had largely been overlooked by the major New Deal farm agency, the Agricultural Adjustment Administration. The purpose of the RA was to provide low-cost loans to impoverished farmers, relocate farmers on productive land, and allow them to eventually buy the land.

The RA sponsored temporary camps for migrant farmworkers and planned model communities of self-sufficient communal farms where certain needy families could be relocated. The RA also assisted poor farmers by providing farm machinery for temporary use and government-purchased seed. The RA aided efforts to reclaim eroded land, clean up polluted rivers, and control potential flooding.

The FSA's purpose was to carry out the act's provisions of aiding tenant farmers farmers who rented the land they worked with loans and with conservation programs for eroded and otherwise damaged land. Stryker's photographers became commonly known as the FSA photographers. Stryker's first duty at the Historical Section was to gather a staff of photographers.

He did not seek out famous photographers; he simply looked for talent and idealism. These men and women photographers of the Historical Section would eventually take , pictures that set the standard for modern-day visual pictorial history. At first Stryker was not sure exactly how the project would go. Stryker received negatives in the mail, had them developed, and took the pictures home each night to pore over them.

Roy stryker biography

Then the next morning he would let the photographers know how they were doing. Before the photographers went out on assignments, which often lasted months at a time, Stryker demanded that they thoroughly understand the situation of the area they were going to document. He delighted in teaching them important information about the areas and often gave the photographers pep talks just before they left.

Stryker also sent them with "shooting scripts," outlining the kinds of pictures he needed. However, he made it clear that photographers had the freedom to shoot anything that seemed important. At first the photographers focused on rural poverty, and their photos helped increase the public's awareness of those in need. Congress was compelled to act to relieve the suffering.

Later the photographs reflected every aspect of small-town and rural life, and the entire collection became a national treasure documenting the s. The collection is part of the library's American Memory program. Roy Stryker, who led the project, punched holes in up to , negatives that he felt were inferior. Therefore, the main part of the collection includes approximately , black-and-white negatives and 1, color negatives, the latter taken during the last days of the project.

Color photography became widespread late in the s with the development of Kodachrome and other color films. He died in Grand Junction, Colorado. Roy Stryker's Video. Inspiring Portfolios. Tariq Zaidi. Marco Gualazzini. Mustafa Hassona. Call for Entries. Enter Competition. More Great Photographers To Discover. Osama Elolemy. I am Osama aka Gennie-in-a-Click and I don't know how the Universe has conspired for me to be a photographer, but I am loving it.

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It is astonishing to be trans boarded in a second. I hope by giving background to the viewer about the way the photographs were shot, to help them feel the emotions that are associated with each piece of art. Statement: Happiness is found all around us, happiness is all little things that we ignore daily, happiness is a deep connection with Gaia.

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He captures photographs for each project with multiple large format film cameras as well as smaller digital cameras as needed for commercial clients. Fallen Flags, and Railroad Landscapes have both been the subject of several solo and group exhibitions. Zatara Press will publish his latest project titled Carbon County in May Baron Raimund von Stillfried.

This studio operated until In the late s, Stillfried visited and photographed in Dalmatia, Bosnia, and Greece. In addition to his own photographic endeavours, Stillfried trained many Japanese photographers. He left Japan forever in He also received an Imperial and Royal Warrant of Appointment as photographer. Source: Wikipedia To many in the West, Japan is an exotic country, seen through the distorting lens of tourist cliches: cherry blossoms, geisha, samurai, kamikaze.

In that sense, little has changed since the Meiji Era , when Japan was first promoted abroad as a sort of Oriental theme park. Baron Raimund von Stillfried, a 19th-century pioneer of photography in Yokohama, was the first in Japan to recognize the new medium's potential as a global marketing tool. Adept at producing theatrical souvenir photos, Stillfried also took the first ever photograph of Emperor Meiji and shocked Vienna when he imported Japanese teenage girls to the city to work in a mock teahouse.

Andrews in Scotland, is the first comprehensive study of Stillfried's extraordinary life and works. Written for an academic readership using the language of critical theory, Gartlan's account of a scandal-prone impresario resonates with contemporary parallels. In , aged 24, he chose life as a cabin boy in a ship headed for Peru instead of an aristocratic military career.

By , after a couple of years adventuring in Mexico, fighting a doomed campaign for the Habsburg Emperor, he had set up a photography studio in Yokohama. The rough and ready port town was hosting its first "globetrotters," a word coined locally to describe the new wave of round-the-world tourists, propelled by the opening of the Trans-American railway and the Suez Canal.

One German globetrotter, Margaretha Weppner, recorded her impressions the same year: "The foreigner in Japan leads an expensive, luxurious life. The climate requires that liquors should be taken before breakfast, wine, beer, and champagne at breakfast; the same routine before, at, and after dinner, and brandy and soda all day long. Baron Raimund von Stillfried specialized in staged studio portraits featuring models decked out as traditional Japanese "types.

In the same way that the foreign press today fixates on "weird Japan" stories, Stillfried's images, Gartlan argues, were a popular fiction that exploited Western ignorance. Take, for example, Two Officers - used on the cover of A Career of Japan - that purports to show two samurai with their hair in topknots. The photograph was taken in , four years after the traditional hairstyle worn by Japan's warrior class was banned.

It was as a paparazzo that Stillfried first achieved notoriety. Hearing that Emperor Meiji was to visit Yokosuka on New Year's Day in - the first public appearance by a Japanese monarch - Stillfried was determined to take his picture. Tugwell and Stryker refocused the attention of the Resettlement Administration to document the problems of the heartland, and in Stryker became the head of the Historical Section Information Division of the RA.

Stryker was a manager of the FSA's photographic project. The photographers involved attested to his skill in getting good work from them. He ensured that the photographers were well briefed on their assigned areas before being sent out, and that they were properly funded. However, Stryker has been criticized for his destructive editing, as he would sometimes physically deface negatives by punching holes in them.

He used to punch a hole through a negative. Some of them were incredibly valuable," photographer and artist Ben Shahn has been quoted saying. Stryker also made sure that mainstream publications had access to FSA photographs. This both helped focus public attention on the plight of the rural poor and set up the commercial careers of his photographers.

Overall, from , developed negatives, some 77, different finished photographic prints were made for the press, plus color images. It was used to produce what was essentially propaganda and disbanded after a year. Stryker resigned from the government. He worked for Standard Oil in its public relations documentary project from to , hiring some of the photographers he had worked with at FSA.

In selecting photographers for projects at Standard Oil SO , Stryker sought those who possessed what he described as an. After suggesting topics he wanted to be documented, Stryker gave his photographers the freedom to pursue their individual approaches to their subjects. Although Stryker was not a photographer himself, he promoted using the camera as a tool to document society.

His work, especially in the early years of the FSA, was to enhance the public's perception of the federal aid programs for the destitute. Stryker led the project from to and was responsible for launching the careers of photographers such as Dorothea Lange, Walker Evans and Gordon Parks, among others, and for building an unmatched photographic legacy of life in America.

In addition to attracting top-notch photographers to work for him, Stryker had a talent for getting the best out of each one. Even though he did not concern himself with the mechanics of wielding a camera, Stryker developed into a great teacher who could inspire those who came to work for him. Before sending his photographers out into the field, Stryker made sure they were well-informed about their assigned area, its people, economy and even its politics.

He often gave his photographers books to read and would encourage them to look at assignments in new and different ways. Stryker felt that an educated, sensitive photographer would produce images that "would mirror both his understanding and his compassion. In the effort to get the government's message of reformation across to the American people, Stryker worked "to establish an extensive network of contacts among book and magazine publishers that ensured that FSA photographs, which came to number , were widely used.

With the onset of World War II, the photographic unit was taken over by the Office of War Information, and its mission turned to reflecting more positive images of the country in order to boost morale on the home front. In , under mounting bureaucratic criticism of the FSA as a waster of government funds, Congress ruled that the rural assistance programs be reorganized and that the FSA be disbanded.

The New Deal experiment to aid rural farmers had come to an abrupt end. Stryker's historical section was transformed into a photographic agency for the OWI, and his team of photographers began to disband.