Jacob August RiisHow the other half lives 1892

• ‘How the other half lives’ is by far Jacob Riis’ most famous body of work.• The work explores the effects of the industrial revolution on the working class in new

york, the last city to see the overcrowding as a result of the industrial revolution.• There were around 300,000 people per square mile living in tenements in lower east side

at this time.• These conditions were creating the effect of living in a hell hole. Disease was also a big

issue due to the lack of hygene in these tenements. • He was not the first to bring this issue to light, however the most innovative in doing so

through photography.

• The rent in these overcrowded tenements was substantially higher than that of other areas in new york.

• However Riis did not just observe the issues he was faced with, he was offering solutions to these.

• Rather than suggesting the type of laws which were coming about, to limit the amount of people allowed to migrate to New York, he suggested the demolition/renovation of old buildings to create space for new living areas.

• Due to these ideas and concepts, a century later the United States now has more parks, safer and bigger living areas and more space per person than there would have been, had this carried on.

• Riis began this body of work, and action against the issues, having been one of these migrants, coming from Denmark. He simply had had enough and decided it was time to expose these conditions when he became a newspaper photographer.

• The overpopulation is highlighted specifically in this image through the clothing.

• The sheer amount of clothes compared to the size of the tenement (which we gage from the size of the windows) shows us how overcrowded it is.

• The idea that laundry is a private thing that shouldn't’t be displayed is completely overwritten due to no choice in the matter.

• The shadowed windows however, create this sense of shame in the matter.

• The contrast in the image creates a harsh reality to represent the slums and how people feel about this.

• The shadow also creates a sense of social hierarchy, as these people are being oppressed, left in the shadows.

• If the area was shaded it was as though other people did not have to deal with the issues of poverty.

• We can also sense this is not a one off, due to a glimpse of the other windows surrounding, and other laundry lines which are creeping into the image.

• This is another striking image as it is more of an in depth view into the personal issues.

• Looking into a personal family space and the people themselves actually being shown rather than into the shadows.

• The flash on the camera creates a sense of exposing something, bringing issues to light.

• At first it could be seen that the family have just been put into one room for the image, however on closer inspection you realise that the one room is the house, as there is a combination of beds, storage, and kitchen utensils in one space, in which the family can barely fit.

• There is a sense of suffering together as they have to.

• This image stands out from the others as there is usually the use of shadow to create a somber feel to the issue, however this is more of an exposing image. We as the viewers are faced head on with the problems. This is done through composition as well as flash, as there is no selection of things to be shown and not shown, we see everything and the space is so small.

• The perspective of the image is the main attraction, as the leading lines take the eyes on a journey towards to the light.

• However the eye then moves to see the people on the edge, in the shadows, placed on the edge of society, being overlooked.

• There is a strong tension between the people peering out of the windows and the viewer, due to the glares which are aimed at the camera.

• This could be intended to emphasize the idea of separation in the societies, as these people are being oppressed by the other half.

• The cluttered street adds to the idea of this cramped hell hole that Riis had had enough of.

• The overpopulation is again emphasized by by the washing lines seen in the background, crowding the view of anything further.

• The shadows are almost encroaching on the image, as though to swallow these people into the cycle of poverty.