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in this garden and in the house almost hidden within it. One finds the home base of a photographer, Dorothea Lange. Her name is listed among the masters of photography, but this is not about photography. It is about Dorothea Lange, who in her long, rich and frequently

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painful life, has used the camera vastly to enrich our perception of ourselves and of the human condition. How do you tell others about what you think is worth telling? But you have either discovered are uncovered our land or been endowed with in one way or another

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then, But do you think is meaningful? Not moral, but meaningful. If you have been fortunate enough to have an instrument that's flexible for these purposes, you try, you find your way, and no one can assure you the way you've been successful and where you haven't you

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never really know that. But that's what the job is. What you hold on to, it is a revelation to you in itself. Some things you are ready toe to say this served its purpose. This is now over. This is final, all of this to a person

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with a sense of time. This is wartime closing days of the war with Germany under the roads felt era, opening of you and conference. This is where right in here is where I where I stop. I didn't work for three years. I think that finished it

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not. It wasn't the conference that finished me that I couldn't go any further. It was a very exciting finger. Oh, it hurt me very much. For the past 20 years, all that Dorothea Lange has done has been under a deepening shadow of illness. Until August. I

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was told it, Kaiser, that I had cancer of the esophagus. Andi. So I work for the exhibition and contemplate things as they are. The Museum of Modern Art invited Dorothea Lange to prepare a major exhibition of her work, and she accepted. This meant, however, giving up

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a cherished project for Look magazine photographing at the family cabin, fronting the Pacific, photographing the family not a summer cabin, much more elemental, a protection from the wind and weather. One board that and its shape. When the ocean is high and it beats on the rocks

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that cabin shakes and you feel every way and the Children respond to that. So they get elemental to. We found that we could spend very good weekends there. Paul and I taking the grandchildren there. Then I began to wonder what it waas that made us all

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feel the minute we went over the brow of the hill. A certain sense of mhm not peas, particularly or enjoyment freedom. Then I thought I could do a really sequence syriza photographs on the subject of freedom of which the cabin would be the device. I don't

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want to build up this idea of this story of the cabinet, be anything greater than it is accepting that it really took hold of me. And I really thanks to tell you the truth, I would rather do this story of the cabinet, Then do my big

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show at the museum. I would rather do it. I mean, that's the thing I would like to dio The other goes back, uh, and is making use of material that I have already approached, just approached to prepare for the exhibition meant that a lifetime of work

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must be examined negative by negative print by Prince. Born in 18 95 Dorothea Lange decided to become a photographer at the age of 17. At 20 she set out with a friend of photograph her way around the world. But she became stranded in San Francisco, and

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a year later she opened a portrait studio, which over the years prospered. But in the 19 thirties, in the years of the Great Depression, Dorothy A. Lang's attention shifted literally from the studio to the street. She was hired by the economist Paul Taylor, who sought to

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use the camera as a research tool. Their first worked together was a study of migratory labor in California. Soon thereafter, Dorothea Lange became a part of that remarkable group of photographers working under Roy Striker for the Farm Security Administration. Here we have this one, but I

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can't remember. I know it will show up, but I know it's cotton, and I believe it's Texas. I I'm quite sure that's Texas. Let's put it in taxes. For the time being, the F S. A file represents perhaps the highest point yet achieved in documentary photography.

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Not good enough, Dorothy, when act better, you know, I got a for effort on this, but not sometimes just a for effort, that's all. But here's one in 1940 Dorothy Elin continued to work for the government, photographing the conditions and problems of farm workers for the

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Bureau of Agricultural Economic. 1941. She began work under a Guggenheim fellowship. But then came Pearl Harbor and the war and photographs for the war relocation authority. 1943. She worked for the Ow I for before I worked for Ow! Out where There are no negatives here. 45

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I worked for Ow I and then went to the hospital. Up to that time, there was no illness at stops right there. And we are through that box. And I feel that I had made a visit. I feel so I've gone back on a trip, but

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I'm gonna stop for a few minutes. Andi De, I'll just sit over here from an old boy. Uh huh, Uh huh. 46. A total loss. 47. We'll see. I didn't know how come a lot A lot exhausted and under constant medication every hour spent in reconstructing

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the chronology of her life's work cost much. I have one mind exhibit in the media. In my right, 53 53 I went to Utah 54. I went island on 55 I went back to the hospital. The end of 55 registers the public defender. This man is

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the judge in the Superior Court, where I tried to make photographs which showed but a man does and what he encounters when he's public defender. The nature of the job is what I tried to describe. 58. I went on a trip around the world and I

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said to the doctor, Shall I go when you said What's the difference? Whether you die here or there? Let's go 61. I worked with Remembrance of Asia 63. I was in Egypt and Syria back to the hospital. I would very much like to avoid it, and

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on the other hand, I feel I can't. I must do it. Get that exhibition together and put it on the wall for other people to look at, which will spell out what I would like to speak about in photography. You're working. Methods are not likely to

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get the job done. I well know it. One of the first people Dorothy a talked with about the exhibition was her son, Dan Dixon, become I know and I think Maybe the time has come now for you to make some decisions. Andi, I well know. Okay.

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It is not really modesty on my part. Don't miss taken. It's not modesty. It's that I'm afraid. I'm afraid. Yeah, uh, you know, once photographs, Really? I mean, in the case, like mine when you've been a photographer all your life Uh huh. There is no ducking

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that. That's where the content is the time for me. It's past to do what is called the documentary thing. I have done that. But out of those materials, I want to extract the things that are the items that are, in a sense, I don't know sublimation,

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XYZ The way that comes to my mind. Give me another in essence of a situation the universality of the situation, not the circumstance. I have a million things to do. A million. I never have had so many things to do. And I've been busy all my

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life. Really busy, but busy and working is different. Often we keep ourselves don busy so we don't have to work right now. It's best work on my part. That's work plus fear. Here's a bad combination. I can't cut out the fear, but I got the guesswork,

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period. John Z is coming. On Tuesday, John Zarkava, curator of photography for the Museum of Modern Art, scheduled a visit to the Lang Taylor household in Berkeley, California In the meantime, the Prince selection and the 1001 other activities in the house continue. Well, let me prefer

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to do with the knife. Where's the cheese? Is it corrupts in the soup? Oh, it's already done. Oh, I've got it. Do you give you a hand on the cutting of the cheese? The fact that I'm getting the things ready for this show gives me an

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added incentive, and some things are better than I knew. You ask yourself kind of questions. Why was I working so well that two weeks and then all of us had no good at all? What was it? Was it the weather? They get tired. That was better

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or you go back. It's very curious. It's I'm just really beginning to sense what's in this medium. I go over because I've been doing lately my old negatives over different periods for the show on my how much I could have made of the things I actually

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did had I understood those negatives as well as I understand them now and the different choices I would have made things. I passed by now with very little interest that I once thought with the good ones that I stopped short at some and look and look

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at them. I feel it isn't my negative. It's just but great capturing that waas of something, you know, I'm glad to see you see you. But Zarkov Skis Arrival marked the beginning of long hours of intensive work out of what I have out of what I

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have. I would like one of those walls to be centered and to speak about my own life here on this place. It's a great thing to decide where you live. It's a great thing. This is the photographers environment started by being, you know, I had that

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home is where Well, where is it? You know, it's a very deep and complicated something, especially a family like ours, which is for want of a better word, I'd say irregular and extended. We've lived in this house since 1941 I think, and many have grown up

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here left here returned here with their families. This could be and attempt to describe an environment. That's why it is an attempt to describe an environment. But if I if I say it's the photographers environment, then I I blame myself. Why don't But I like to

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do No. I like to do that rather than then probe into other people's environment. You start with your own. You can only do it and others if you have been able to do it in your own. You really believe in that kind of personal risk taking.

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Yeah, I do. At my age and the MIC situation, it's the only chance in the you ever get My God. Here it comes. Dorothy is husband. Paul Taylor tried to keep Dorothy a on some kind of schedule for both medication and even more difficult eating. We'll

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get these on the wall, for she didn't drink enough. Yes, the woman with that apple pie. She was my neighbor and there was a well beaten path between our kitchen door and her pitching door next door, and it's now no longer there because she's been gone

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10 years. But she held my home together, and for me, When my boys were in high school and I was in the hospital for weeks and weeks and weeks, she held it together For now, let me have the one. I don't want that up. Would you

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like me thio? Would it be helpful in any way if I reacted to these things with a personal? Sure, Sure. Personally, of course. Of course. Beautiful. That be alright, big. And they should really nothing to compete with them. They'll make beautiful. No, No. All right. No,

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e don't like that now. No. Okay. I don't think so. All right, I'm going. I'm willing provided Go on and go back over it. I don't find that it's getting sterile. No. Well, this is just good. Could I agree with everything you said? I agree with?

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Yes, maybe. Yes, yes, on these, you know. Right. Okay. Uh, beautiful. Okay. I don't know I but that's a personal thing. With the crown of the child's head. They said one most wonderful. Yes, but this one Yes, yes. And that one? Yes, that one. I gotta

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have that. E couldn't live with all of us. No, I couldn't. That one of Gregor running is if I took it out. It would violate something around this place because that is almost a motif. Yeah, Underneath those three trees is a beautiful statement. Just those three.

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Mhm to a beautiful statement. Do you Can you say that I can just sit there on the wall? Others are big enough in the dark. A big, dark one. In that case, it would be to trees, not three. What? Oh, I think. Well, maybe not, but

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I think e anyway, I'm just playing with it now. I don't want to do that. I don't wanna do that. I think I could build it. No more out of it, but okay. Should we find Yeah, What am I do now is to decide from all

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of these which have an Irish mood to them, where it really resides the bench on how I can find the quality that I would like to maintain through it. Something John. Like the quality of the Asian ones, which is different from anything else on the walls.

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I'm a little lost here, E I'm a little lost. You better sit down. Quit because it's confusing. Toe have come up. Come down, come up. Come down. We're gonna let this one maybe put this one away. Go back to it. Okay. With these. But the whole

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thing away the selected prince and come back to it because I don't think I don't think I'm making it. Tell me for what reason? One textbook and there was just so surround. That wasn't the words, but it was a good word. A person in a really

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wanting to know what the dickens you're doing with a camera. When you stand in a strange country surrounded by people, you know nothing that you understand. What are you doing there? For the love of God, with a camera? A man? It's a fair question. You know,

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there is a big difference between what you choose out of travel when time is elapsed and what you immediately choose. Memory and his into it. The things that I would put on a wall now from Asia and the things that I picked when I first came

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home for major ugly, different curious, I would like to produce and exhibit people's minds might be stirred not by the variety of things that I have looked at, but by the in men's variety. and richness of human life. This is not the final death. This at

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all this is this is sort of discovering, but the core of this woman's works about I'm sure that this idea takes not only working out, but some reworking. I've gone through this kind of a process before, but I have always, most of the time done it

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alone. I think that wall is about something. I mean, that collection is about something. So is an interest in human life. I think it does, doesn't it? Or am I kidding myself? Dude, that's my bad dream. That's my nightmare. Well, um, I kidding us. Am I

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getting much? I don't only mean photographically shame. It started by being death and disaster, by which I meant all kinds of death. I didn't mean sudden and violent death. I mean, I'm a death by inches on. That was more that I could deliver on. That was

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more a news photographer could do a great one on that. Then the word one day I was working here on it came to me the deprived and the dislocated. And then the word came to me ruthless and helpless. And then the phrase that's used by I

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think the sociologists use it. The walking wounded There was another phrase of within my mind the last pitch, the last ditch. Now this group of pictures. It's just like all my groups of pictures that does suggests the possibilities of this medium. All I hope ever to

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do with this show or anything not to and achieve it, but to suggest it to someone else to carry it on and that I think this war might do. I'm not. I'm not doing it in terms of achievement. Feel it in terms of possibilities. Provocation Because

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But you've heard me say it often enough possibilities of this medium it is. We're just on the threshold another and I'd like to give it a push. Slight push. But on the final wall is something that I'm not sure I had the material without, But this

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I have to work on. And that is a wall on the new California. This is the unfinished business, and this is the one where I could not demonstrate but suggest is the possibility of this medium in revealing passage of time and what happens in it? I

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would say this new California is one for someone else to finish. I we'd love to working it. I would really love to work in it. I can't, but I can start it. Your viewer and these are very mysterious person. Uh huh. You have to keep them

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in mind always to. And you don't know him when he looks at such a wall on relationships. But my hope would be that he would say to himself, Oh, yes, I know what she meant. I never thought of it. Can I never paid attention to it

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or something. Like I've seen that 1000 times. But don't miss it again. Don't miss it again. You've told about the familiar. They understood. But in in calling attention to what it holds, you have added to your viewers confidence, always understanding And most complimentary thing, in my

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opinion, that anyone could ever say to you is I saw something today that you would have liked. Then you know you've reached him