Summary Of How The Other Half Lives

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Jacob Riis’ How The Other Half Lives intensely depicts the reality of the extremely indigent population of New York City slums in the late nineteenth century. During this time thousands of newly arrived immigrants began to overcrowd American cities in pursuit of betterment and equal opportunity. Numerous amounts of people had traveled to America to escape the detrimental reality of their own country only to find that America offered nothing better for them. The same people that suffered famine or revolution dealt with living in continuous danger and health threatening quality. Unfortunately, there was no better option as permanent placement of immigrants became extremely problematic. Soon enough, there was no more space for living. The abundance …show more content…

Not many people would even dare to blink past these filthy areas as they were either completely oblivious and unaware or chose to ignore it. This wasn't until Jacob Riis, photographer, journalist, and social reformer used his talent and expertise to bring attention to the lack of viability in tenement housing with his book, How The Other Half Lives. Riis himself experienced a difficult journey through jobs that led to his later success, this allowed him a closer look at how the poor lived. He used his privilege as a successful photojournalist and police reporter to create the disheartening eye opening experience into a world that was incapable of helping itself. At this time many of the upper class citizen of New York City were blind to the horrific conditions immigrants were forced to live into, which gave Riis’ book the audience he needed to not only state the gruesome truth of living in the slums, but also present photographic evidence of inhuman living and working situations of that …show more content…

This allowed his subjects to appear clear at night, as film is very difficult to shoot handheld in the dark. But flash photography is also very suitable for a more dramatic effect in portraiture, especially against unlit areas. One photograph in specific that illustrates this practice is Midnight in Ludlow St. The photograph is directed at two men sleeping in what seems to be an overcrowded and dirty bedroom. The angle Riis’ shoots at is head on which neither demonizes nor glorifies the poor, but gives direct connection to eye level portraiture, which is important when photographing the homeless. This creates personalization and grants the viewer to form some sort of emotional and personal connection, as if they are the ones in the photograph looking at the two men. Riis also used flash in this photograph, which is why we are able to see the grime clinging to the windows and floors against the very dark and dramatic contrast given off by the light. We see very clearly the faces of the unknown men, covered in filthy blankets, surrounded by dust and dirt, making you envision just how unfair it is to be complicit in your own dehumanization. This photograph brilliantly brings your attention to the silent world of tenement housing at night, while the other half are asleep in their comforting homes - these men, along with many other women and children, are used to sleeping on filthy floors in jam

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