“How the Other Half Lives”, a collection of photographs taken by Jacob Riis, a social conscience photographer, exposes the living conditions of immigrants living in poverty and grapples with issues related to homelessness, criminal justice system, and working conditions. The photograph, called “Bandit’s Roost,” depicts one of the most dangerous parts of New York City on Mulberry Street. Through his use of light and dark, perspective, and subject placement, Riis aims to humanize a notorious aspect of society and show that there is a deeper meaning beyond what our initial assumptions are.
The perspective of the photograph is taken from the position onlooking an alley - this provides a narrow view of the image and forces the viewer to examine the photograph in a vertical dimension. We’re forced to look upwards, upwards towards the bright sky, white laundry, and the tops of the buildings. The top half of the image is lighter, warmer colors, with the sun shining through the tops of the buildings, while the bottom contains darker, grim-looking figures with ominous qualities about them. The steps up to the houses and the ground beneath them, even the objects scattered to the lower left and right hand corners of the image, are dark, drawing attention to the center of the image and conveying the dangerous nature of the neighborhood. The sunlight rising through the top of the buildings reflects off the pavement, making it seem wet and damp. Riis utilizes light placement intentionally to contrast parts of the photograph that are more grim and are associated with crime with the lighter, everyday objects of a neighborhood
This photograph captures and humanizes a dark part of city life - the part associated with crime and danger. I feel that Riis is trying to illuminate the lives of these individuals, not just by bringing in the light to reflect off of their houses and streets, but to expose what their lives are like. The bottom half of the picture - the part that is closest to the viewer - contains figures of men in dark, imposing attire, with black hats, canes, and powerful positions. However, the people looking out the windows, the clothes hanging above, even the child in the background, all contribute to a setting that seems less dangerous and criminal - one that is more ordinary and commonplace. The positioning of the figures in the image - the two dominating men in the forefront, the women on the side, the child in the background, the other gang members in the center of the image - also contribute to the message of the photograph, mirroring the way certain individuals are overlooked and treated in society. Through this setup, Riis is subtly asserting and challenging society’s notions of how criminal activity is viewed by the public, and how it should be viewed in a way that doesn’t stigmatize the individuals from a position of lesser privilege.
I enjoy looking at the way photographs can be used as a means for social advancement and equality, and how the ways the photograph is staged can contribute to that higher purpose. Riis’ philosophy on photography is something that I try to emulate in my art - specifically in writing - and to push myself, like how other social conscience photographers did, to consider the ways I can use artistic forms to give a voice to those oppressed.
Written by
S. Karam