Migrant Mother, Nipomo, California (1936) Author: Dorothea Lange

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This is my favourite my portrait for a while, rst time I saw it in books and last year I had the chance to see it at Pier 24 and I had the feeling that I see something sacred. I believe that the thing that intrigues me most is the look of the women. She is poor, she have three young kids that she supports ( and this details conveys from the image also ), she is worried, she have harsh wrinkles but she have power, strength to pose gentle for the photographer. In my opinion, the gracefulness is given by the hand from her cheek. I know from experience that is very hard to make this kind of portrait ( framing ) with four people in it and I think this photography is perfect also for the chosen moment and posture of the characters.

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From the book Rich and poor Author: Jim Goldberg

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Here is a classic house with two people, a man and a women. The photography is black and white. He is well dressed, with an ofce suite but she seams to be dressed in a sort of night dress. In the rooms, the one they are in and the one behind them, are a lot of objects, pictures on the walls, furniture. Another aspect is that the two people stay far one from another, he is looking to the camera and she is looking at him.

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This photography must be a family portrait but from the beginning I understand from his look in the camera that he is a cold man and the clothes tell me that he might be a former banker. From her look and position of the body I see that shes afraid of him, she respects him but by fear. After I read the text that comes along with the photograph my thoughts are conrmed. But in a sad manner. First time when I saw this photography is when I went to Pier 24 gallery from San Francisco. I usually start to read magazines from the end, with the back stories and if I saw a more consistent text under the photography, I started to read it rst. I understood their relationship from her words, hes not demonstrative of his affection but she never been unhappy so now I think I understand how he is: maybe is hard for him to show his feelings, maybe his parents didnt loved him much. The sadness came after reading his words, she refers to his wife as acceptable and I feel that he is a cruel man and I begin to wonder who wrote rst on Jims photography.

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Author: Bruce Davidson
I chose this image for the composition, being careful at what I see I noticed that my eyes went from the white clothes to the boy and the doll and after this, by following the road I reached

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the background, a very large factory. First detail that I noticed on this photography is the resemblance between the boy and the baby doll from the stroller. I believe this image is about alienation, about the changes that happens all the way with the Industrial era. What conveys me this feeling is rst, that usually girls play with strollers and take care about baby dolls, not boys and secondly the strange, scared look of the baby doll. I see the contrast between the clean white clothes and the smoke from the background and mainly this is the reason I nd this image engaging, that the photographer could tell me a lot of stories with one image.

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Author: Bruce Davidson
This photography reminds me about the story of our colleague, when it is enough and who say that is enough. Our modern society is changing but Im sure that are still rules and problems that now are not seen as problems because the boundaries are set in such way ( whoever takes this decisions for the society ) . I make a parallel to the story of our colleague because I see the society like the glass and the certain thing is that we can pour in it as long as it allows and every time we will ll our glass because this is the standard, it is very unlikely to ask for a glass of water and the waiter to bring you a glass just quarter full. This way I see this image, a struggle of a men to brake the society boundaries and to say that we should have bigger glasses or different size glasses.

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I see two mediums, two worlds, one is highly populated with two predominant animal species, mature hens and dogs, and the other with one solitary chick looking from above. The two

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planes are separated by a black line, the border of a truck. Opposite, there is another truck, a white one this time, it is open and it seems to have another hen in it. " What i think the author, Alessandra Sanguinetti, wanted to reinforce is the whole idea of the album, the struggle to survive in a farm, like in a human society, everybody is on its own and there is also a hierarchy, the big ones eat rst although the smaller ones are in a larger number. Who had been in a farm knows that the hens gather like here when is time to eat and, judging by the light, I guess it is the second launch, the one from the evening. But above all these, there is a chick that learn what it see, and maybe it would learn better things if it would see different behaviours, but this is the legacy from its ancestors and the implications will be seen by successors. What seems ironic for me is the spanish text written on the box from where the chick seemed to rise, No exponer ( no exhibit ) , and now that I think about it, the situation denes well the youth spirit, the desire of exploring new worlds, probably because they dont know how cruel the world can be and that the real challenge is to remain a chick in a hens world.

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