Walker Evans
Walker Evans, an iconic figure in American documentary photography, is best known for his stark and evocative images of the Great Depression. His work, characterized by its straightforward and unembellished style, has profoundly influenced the field of photography. Evans’s ability to capture the essence of American life in the early 20th century has cemented his place as a pivotal figure in the history of the medium.
Early Life and Career
Born on November 3, 1903, in St. Louis, Missouri, Walker Evans spent much of his childhood in the Chicago suburb of Kenilworth before attending several prestigious schools, including Phillips Academy and Williams College. His academic pursuits were marked by inconsistency, leading him to leave Williams College after only one year. In 1926, Evans moved to Paris to study at the Sorbonne, where he attempted to become a writer. However, his literary ambitions were not realized, and upon his return to New York in 1927, he began to explore photography seriously.
Evans’s early work in the late 1920s and early 1930s focused on the modernist aesthetic, capturing semiabstract patterns of skyscrapers and other architectural elements. His style shifted significantly after encountering the work of French photographer Eugène Atget, known for his simple and direct photographs of Paris. This encounter marked a turning point in Evans’s career, steering him towards documentary photography.
Photographic Style and Techniques
Evans’s photographic style is best described as “lyric documentary,” a term he himself used. His work is characterized by its clarity, precision, and lack of artifice. Evans sought to present his subjects with an unflinching honesty, avoiding dramatic or sentimental approaches. His photographs often depict everyday scenes and objects, such as vernacular architecture, street signs, and domestic interiors, all presented with a meticulous attention to detail.
One of Evans’s most notable techniques was his use of large-format cameras, which allowed for highly detailed and sharp images. During his time with the Farm Security Administration (FSA), Evans primarily used an 8x10-inch view camera. This equipment was crucial in producing the clear, detailed images that became his hallmark. Later in his career, Evans experimented with the Polaroid SX-70, appreciating its simplicity and instant results.
Career Highlights
• Farm Security Administration (FSA): From 1935 to 1937, Evans worked for the FSA, documenting the effects of the Great Depression. His images from this period, including iconic portraits of tenant farmers and rural life, remain some of his most powerful and enduring work.
• “Let Us Now Praise Famous Men” (1941): This collaborative project with writer James Agee documented the lives of three sharecropping families in Alabama. Although initially overlooked, the book is now considered a seminal work in both photography and American literature.
• “American Photographs” (1938): This exhibition and accompanying book, hosted by the Museum of Modern Art, was the first solo exhibition for a photographer at the museum. The publication remains a benchmark in photographic monographs.
• “Many Are Called” (1966): A collection of photographs taken surreptitiously in the New York City subway using a hidden camera. These candid portraits offer a fascinating glimpse into the lives of everyday commuters.
Photography Gear
Cameras and Equipment
• 8x10 View Camera: This large-format camera was essential for Evans’s FSA work, providing the sharp detail and tonal range needed for his documentary style.
• 35mm Contax: Used for his subway series “Many Are Called,” this camera’s compact size and quality optics made it ideal for candid street photography.
• Polaroid SX-70: In his later years, Evans embraced the Polaroid SX-70 for its convenience and immediacy, using it to capture street scenes and ephemeral details of urban life.
Lenses
• Wide-Angle Lenses: These were crucial for capturing expansive scenes of rural America during his FSA work, allowing Evans to include significant detail and context in his compositions.
• Standard Prime Lenses: Preferred for their sharpness and versatility, these lenses were used extensively in his subway portraits and other street photography projects.
Accessories
• Tripods: Vital for the stability and precision required in large-format photography, particularly in low-light conditions or long exposures.
• Cable Releases: Essential for reducing camera shake during long exposures, especially when using the view camera.
Photography Books
“Walker Evans: American Photographs: Seventy-Fifth Anniversary Edition”: This landmark publication, originally released in 1938 to accompany an exhibition at the Museum of Modern Art, remains one of the most significant photobooks ever published. The seventy-fifth anniversary edition aims to recreate the original book as closely as possible, using new digital technologies for improved reproductions. The collection offers a profound insight into American life during the early 1930s, capturing the essence of the nation’s social and cultural landscape. Practicing photographers will find immense value in Evans’s meticulous composition and his ability to convey powerful narratives through ordinary scenes. This book is a masterclass in documenting reality with authenticity and artistic integrity.
“Walker Evans: The Magazine Work”: This compilation assembles many of Evans’s photo-essays published in various magazines, showcasing his innovative approach to photojournalism. From small avant-garde publications to mainstream magazines like Harper’s Bazaar and Life, Evans’s work in these outlets demonstrates his versatility and commitment to the printed page. This book provides valuable lessons for photographers on maintaining artistic autonomy while working within commercial constraints. Evans’s ability to create compelling visual stories for diverse audiences is a testament to his skill and creativity, offering inspiration and practical techniques for integrating photography with editorial content.
“Walker Evans: Signs”: Focusing on one of Evans’s recurring themes, this book explores his fascination with signs and their role in American culture. From billboards to street graffiti, Evans’s photographs of signs are not just visual records but also social commentaries. The accompanying essay by Andrei Codrescu provides a thought-provoking analysis of Evans’s work, highlighting the intersection of art and everyday life. This collection is particularly useful for photographers interested in capturing the urban landscape and its myriad visual cues. Evans’s keen eye for detail and composition turns mundane subjects into profound statements, illustrating the power of photography to reveal hidden layers of meaning.
“Walker Evans: Depth of Field”: This comprehensive volume offers the most extensive study of Evans’s work, spanning his entire career from the 1930s to the 1970s. It includes a wide range of images, from his early work with a vest pocket camera to his later experiments with the Polaroid SX-70. The book features insightful commentary from notable photography historians and Evans’s longtime friends, providing a deep understanding of his techniques and artistic philosophy. This book is an invaluable resource for studying Evans’s “anti-art” approach and his relentless pursuit of capturing the American experience with honesty and precision. The detailed analysis and rich visual content make it a compelling guide for those looking to refine their own documentary photography skills.
Quotes
• “Stare. It is the way to educate your eye, and more. Stare, pry, listen, eavesdrop. Die knowing something. You are not here long.”
• “The guard is down and the mask is off. Even more than in lone bedrooms (where there are mirrors), people’s faces are in naked repose down in the subway.”
• “Good photography is unpretentious.”
• “I work from the belief that everything is interesting.”
• “Photography is the most literary of the graphic arts.”
Legacy and Influence
Walker Evans’s legacy in documentary photography is profound. His approach to capturing the American experience with stark realism has influenced countless photographers. His work is often associated with the vernacular style, focusing on ordinary subjects and everyday scenes. Helen Levitt, known for her candid street photography in New York City, and Henri Cartier-Bresson, famed for his decisive moment technique, share similarities with Evans in their unembellished and truthful approach to their subjects.
Evans’s influence extends beyond photography into the broader cultural and artistic realms. His work has inspired visual artists and filmmakers, contributing to a deeper understanding of American history and identity. The honesty and integrity of his images continue to resonate, ensuring that Walker Evans remains a central figure in the canon of American photography.
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