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Margaret Bourke-White
Margaret Bourke-White

Margaret Bourke-White

Country: United States
Birth: 1904 | Death: 1971

Margaret Bourke-White studied at the University of Michigan and then at Cornell University where she first discovered photography in 1927. She started taking pictures of buildings and engines. Henri Luce who created the magazine Fortune was very impressed with her work and decided to hire her as editor-in-chief in 1930. In November 1936 her picture of the Fort Peck dam makes the cover of Life magazine. It was the beginning of a long collaboration (1931-1971) and the real beginning of her career. She traveled to USSR in 1931 and then worked with E. Caldwell on the subject of poverty in the US (1937). She is then a photographer for the US Air Force and travels to Moscow, Germany, India, South Africa, and Korea. At the same time, she works for advertising agencies. At the end of the 50s, she has to stop working because of Parkinson disease.

Source: Wikipedia


Photography is a very subtle thing. You must let the camera take you by the hand, as it were, and lead you into your subject.

-- Margaret Bourke-White



Margaret Bourke-White, original name Margaret White, American photographer known for her contributions to photojournalism. Margaret White was the daughter of an engineer-designer in the printing industry. She attended Columbia University (1922–23), the University of Michigan (1923–25), Western Reserve University (now Case Western Reserve University), and Cornell University (A.B., 1927).

During this period she took up photography, first as a hobby and then, after leaving Cornell and moving to New York City, on a professional freelance basis. She combined her own last name with her mother’s maiden name (Bourke) to create her hyphenated professional name. Beginning her career in 1927 as an industrial and architectural photographer, she soon gained a reputation for originality, and in 1929 the publisher Henry Luce hired her for his new Fortune magazine. In 1930 Fortune sent Bourke-White to photograph the Krupp Iron Works in Germany, and she continued on her own to photograph the First Five-Year Plan in the Soviet Union. She became one of the first four staff photographers for Life magazine when it began publication in 1936, and her series of photographs of Fort Peck Dam was featured on the cover and as part of the feature story of the first issue.

Throughout the 1930s Bourke-White went on assignments to create photo-essays in Germany, the Soviet Union, and the Dust Bowl in the American Midwest. These experiences allowed her to refine the dramatic style she had used in industrial and architectural subjects. These projects also introduced people and social issues as subject matter into her oeuvre, and she developed a compassionate, humanitarian approach to such photos. In 1935 Bourke-White met the Southern novelist Erskine Caldwell, to whom she was married from 1939 to 1942. The couple collaborated on three illustrated books: You Have Seen Their Faces (1937), about Southern sharecroppers; North of the Danube (1939), about life in Czechoslovakia before the Nazi takeover; and Say, Is This the U.S.A. (1941), about the industrialization of the United States.

Bourke-White covered World War II for Life and was the first woman photographer attached to the U.S. armed forces. While crossing the Atlantic to North Africa her transport ship was torpedoed and sunk, but Bourke-White survived to cover the bitter daily struggle of the Allied infantrymen in the Italian campaign. She then covered the siege of Moscow and, toward the end of the war, she crossed the Rhine River into Germany with General George Patton’s Third Army troops. Her photographs of the emaciated inmates of concentration camps and of the corpses in gas chambers stunned the world.

After World War II, Bourke-White traveled to India to photograph Mahatma Gandhi and record the mass migration caused by the division of the Indian subcontinent into Hindu India and Muslim Pakistan. During the Korean War she worked as a war correspondent and traveled with South Korean troops. Stricken with Parkinson disease in 1952, Bourke-White continued to photograph and write. She retired from Life magazine in 1969.

Source: Encyclopaedia Britannica


The beauty of the past belongs to the past.

-- Margaret Bourke-White



 

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More Great Photographers To Discover

Donald Graham
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Donald Graham is an internationally recognized portrait, fashion and fine art photographer whose work is in the Metropolitan Museum of Art in New York and the International Center of Photography. He has exhibited his photography in numerous exhibitions and his photographs are held by many collectors. He is well known for his work photographing everyday people, celebrities and fashion for magazine and advertising clients including Vogue, Vanity Fair, Sports Illustrated and Time. Donald began his career in Paris as a fashion photographer. He then moved to New York and Los Angeles where he broadened his work to include portraiture for the movie, music, editorial and advertising industries and began devoting significant time to his personal fine art work. During his career, Donald has photographed in more than forty countries, with extensive travels in India, Asia, Africa, Latin America and Europe. A book of his portraits, entitled ONE OF A KIND, was published by Hatje Cantz in 2021. After 20 years in New York City, Donald is currently based in Los Angeles, California and Taos, New Mexico. Statement "My portraits are about honest moments that display qualities of the human character including wisdom and sensitivity, peace and vulnerability, both joy and tragedy. I seek to make portraits that are driven by one's inner dialog. I'm not interested in poses or performances for the benefit of the camera. I'm interested in what a person is like when they are their most authentic." Authenticity, honesty, and trust characterize Donald Graham's portraits. They are not simply photographic recordings. Looking at them is like seeing human beings in the flesh, revealed to us by Graham with his virtuoso technique and sensibilities. His exquisite, strongly contrasting black-and-white photographs are evidence of attitude, rather than studied gestures. Eyes and faces are not model-like masks; instead, they express the unique nature of those portrayed. Inevitably, viewers find themselves in a dialogue with the images. You wonder about the stories behind these faces; though unfamiliar, they are nevertheless an emotional experience. One of A Kind
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André Adolphe-Eugène Disdéri
France
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Alicia Moneva
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As if it were a necessary self-deception on occasions." -- Alicia Moneva - Madrid, October 2013 Interview with Alicia Moneva AAP: When did you realize you wanted to be a photographer?It was progressive. I needed to work with the human figure and I felt more comfortable with photography. AAP: Where did you study photography?I didn't study painting or photography. My teachers were architects who knew the method and had perception. AAP: How long have you been a photographer?I have been taking photographs for 20 years but, professionally, just 10. AAP: Do you remember your first shot? What was it?They were objects that I wanted to paint in my Studio and I couldn't move them from the place they were. And also black and white portraits, many portraits. AAP: What or who inspires you?I am inspired by philosophy, anthropology, biology... and now also particle physics. Science and arts basically. AAP: Do you have a favorite photograph or series?My favorite series are the last I have been working on: The disease in our culture, which is about chronically ill people, the unknown heroes of our time. It is a tribute to them, their carers and families. AAP: What kind of gear do you use? Camera, lens, digital, film?When I started I used an old Pentax, with black and white rolls for portraits and color rolls for objects I painted later. Now I work with a Canon 5D Mark II and a Canon 7D. The lenses are also Canon. AAP: Do you spend a lot of time editing your images? For what purpose?My pictures are made of many individual photographs. I use photo editing programs to assemble and compose the final image. For me it is important to convey the idea I have in mind and I edit the photos until I think the concept is understood. AAP: Favorite(s) photographer(s)?I really like Spanish creativity. My favorite are perhaps Chema Madoz for his pulchritudinous images which I would summarize in "less is more". And Cristina García Rodero because she transmits me all the strength of human feelings. AAP: What advice would you give a young photographer?To be passionate about what he is doing, to follow his instincts. And, especially, to be honest with what he thinks, beacuse that will be his way of looking at what the others see. AAP: What mistake should a young photographer avoid?Wanting to be very original? Or thinking you already know everything? AAP: An idea, a sentence, a project you would like to share?I would mention a fragment of one of José Hierro's poems that summarizes well how sometimes a moment can be turned into something timeless. "...But there are things that do not die and others who never lived. And there are some that fill the universe, And it is not possible to get rid of its memory." (José Hierro / "Alegría" 1947). AAP: What are your projects?I have been working lately on a new project with another Spanish photographer, Judith Sansó. It is shared project with a performance which combines photography and video art. The first of these series is called "the distance between her and yesterday is a photo" and talks about memories and how they shape our personality. These are some of the links to the performance and the making of the video work: YouTube video (In Spanish) YouTube video YouTube video AAP: Your best memory as a photographer?None in particular. I like when I start a new project. AAP: Your worst souvenir as a photographer?I can't remember. A well-known neurologist (Á. Pascual Leone) once said that it's more important to forget than to remember, especially bad memories AAP:If you were someone else who would it be?I would have liked to be a good silent film director like Fritz Lang, Renoir or Murnau.
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