Margaret Bourke-White

Margaret Bourke-White (; June 14, 1904 – August 27, 1971), an American photographer and documentary photographer, became arguably best known as the first foreign photographer permitted to take pictures of Soviet industry under the Soviets' five-year plan, as the first American female war photojournalist, and for taking the photograph (of the construction of Fort Peck Dam) that became the cover of the first issue of ''Life'' magazine. She died of Parkinson's disease at age 67, about eighteen years after developing symptoms.

Early life

Margaret Bourke-White, born Margaret White in the Bronx, New York, was the daughter of Joseph White, a non-practicing Jew whose father came from Poland, and Minnie Bourke, who was of Irish Catholic descent. She grew up near Bound Brook, New Jersey (the Joseph and Minnie White House in Middlesex), and graduated from Plainfield High School in Union County. From her naturalist father, an engineer and inventor, she claimed to have learned perfectionism; from her "resourceful homemaker" mother, she claimed to have developed “an unapologetic desire for self-improvement." Her younger brother, Roger Bourke White, became a prominent Cleveland businessman and high-tech industry founder, and her older sister, Ruth White, became well known for her work at the American Bar Association in Chicago, Ill. Roger Bourke White described their parents as "Free thinkers who were intensely interested in advancing themselves and humanity through personal achievement", attributing the success of their children in part to this quality. He was not surprised at his sister Margaret's success, saying " hewas not unfriendly or aloof".

Margaret's interest in photography began as a hobby in her youth, supported by her father's enthusiasm for cameras. Despite her interest, in 1922, she began studying herpetology at Columbia University, only to have her interest in photography strengthened after studying under Clarence White (no relation). She left after one semester, following the death of her father. She transferred colleges several times, attending the University of Michigan (where she was a photographer at the ''Michiganensian'' and became a member of Alpha Omicron Pi sorority), Purdue University in Indiana, and Western Reserve University in Cleveland, Ohio. Bourke-White ultimately graduated from Cornell University with a Bachelor of Arts degree in 1927, leaving behind a photographic study of the rural campus for the school's newspaper, including photographs of her famed dormitory, Risley Hall. A year later, she moved from Ithaca, New York, to Cleveland, Ohio, where she started a commercial photography studio and began concentrating on architectural and industrial photography.

Career

Architectural and commercial photography

One of Bourke-White's clients was Otis Steel Company. Her success was due to her skills with both people and her technique. Her experience at Otis is a good example. As she explains in ''Portrait of Myself'', the Otis security people were reluctant to let her shoot for many reasons.

Firstly, steel making was a defense industry, so they wanted to be sure national security was not endangered. Second, she was a woman, and in those days, people wondered if a woman and her delicate cameras could stand up to the intense heat, hazard, and generally dirty and gritty conditions inside a steel mill. When she finally got permission, technical problems began.

Black-and-white film in that era was sensitive to blue light, not the reds and oranges of hot steel (In the words of her collaborator, the ambient red-orange light had no "actinic value"), so she could see the beauty, but the photographs were coming out all black.

My singing stopped when I saw the films. I could scarcely
recognize anything on them. Nothing but a half-dollar-sized disk
marking the spot where the molten metal had churned up in the
ladle. The glory had withered.

I couldn't understand it. "We're woefully underexposed," said
Mr. Bemis. "Very woefully underexposed. That red light from
the molten metal looks as though it's illuminating the whole
place. But it's all heat and no light. No actinic value."

She solved this problem by bringing along a new style of magnesium flare, which produces white light, and having assistants hold the flares to light her scenes. Her abilities resulted in some of the best steel-factory photographs of that era, which earned her national attention.

"To me... industrial forms were all the more beautiful because they were never designed to be beautiful. They had a simplicity of line that came from their direct application of purpose. Industry... had evolved an unconscious beauty – often a hidden beauty that was waiting to be discovered"

Photojournalism

In 1929 Bourke-White accepted a job as associate editor and staff photographer of ''Fortune'' magazine, a position she held until 1935. In 1930 she became the first Western photographer allowed to enter the Soviet Union.

Henry Luce hired her as the first female photojournalist for ''Life'' magazine in 1936. She held the title of staff photographer until 1940, but returned from 1941 to 1942, and again in 1945, after which she stayed through her semi-retirement in 1957 (which ended her photography for the magazine) and her full retirement in 1969.

Her photographs of the construction of the Fort Peck Dam featured in ''Life''s first issue, dated November 23, 1936, including the cover. This cover photograph became such a favorite (see) that it was the 1930s' representative in the United States Postal Service's ''Celebrate the Century'' series of commemorative postage stamps. "Although Bourke-White titled the photo, ''New Deal, Montana: Fort Peck Dam'', it is actually a photo of the spillway located three miles east of the dam", according to a United States Army Corps of Engineers webpage.

During the mid-1930s, Bourke-White, like Dorothea Lange, photographed drought victims of the Dust Bowl. In the February 15, 1937, issue of ''Life'' magazine, her famous photograph of black flood-victims standing in front of a sign which declared, "World's Highest Standard of Living", showing a white family, was published. The photograph later would become the basis for the artwork of Curtis Mayfield's 1975 album, ''There's No Place Like America Today''.

She also traveled to Europe to record how Germany, Austria, and Czechoslovakia were faring under Nazism.

Bourke-White and then husband Erskine Caldwell collaborated on ''You Have Seen Their Faces'' (1937), a book about conditions in the South during the Great Depression.

Soviet Union

Bourke-White was "the first Western professional photographer permitted into the Soviet Union". She travelled there in consecutive summers from 1930-32 to document the Five Year Plan. While in the USSR, she photographed Joseph Stalin, as well as making portraits of Stalin's mother and great-aunt when visiting Georgia. She also took portraits of other famous people in the Soviet Union, such as Karl Radek, Sergei Eisenstein, and Hugh Cooper

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