Margaret Bourke-White

large-format, mounted, annotations in ink on the reverse, hinged to a second mount, with credit, stamps and annotations in ink and on the reverse, framed, 1950 (Portrait of Myself, p. 317; Best of Life, p. 26)

Originally from the collection of Margaret Bourke-White

This early print, on double-weight paper with a surface sheen, is in generally good condition. It is lifting from the mount at the upper and lower edges on the left side. Masking tape has been used to hinge the photograph to the secondary mount along the right side of the print, covering the margin edge and extending into the print by a little more than 1/8-inch. There are red ink lines at the margin corners which were evidently used to line up the print on the mount. The photograph, which has been glued to the primary mount, is lifting at upper and lower left corners. The reverse of the primary mount has adhesive glue remains overall. In raking light, the following are visible: faint silvering in the dark areas; and random, scattered handling creases and impressions, none of which appears to break the emulsion. On the secondary mount are the notations: 'Lesson 13, Page 34-35 Hey C' in blue ink, and 'Important! Handle with Care' (underlined) in red ink. On the reverse of the Bainbridge Board secondary mount, there are stamps: 'Famous Photographers Schools, Wilton Road, Westport, Conn.' in red ink and 'Original Art' and 'Please Return to Art Archives, Graphics Building' in red and black inks. Additionally, in red ink or crayon are the following: 'Copy of this was used in reprint 7/65 - " When the Cameraman is a Woman," Chicago's Sunday American Magazine (reprint drawer),' 'Orig - Margaret Bourke-White,' and 'L. 13, pg. 34.' When examined with a black light, this print does not appear to fluoresce. This print has also been used in Retrospective, p. 108, Goldberg, pl. 50, and 'Humanitarian Vision,' p. 14.
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The present photograph shows two miners who were identified to Bourke-White only by the numbers, 1139 and 5122, tattooed on their forearms.  On assignment from LIFE, Bourke-White demanded to photograph them in their work environment—6,300 feet underground, in a remote section of the Robinson Deep mine, where only traces of gold scrap were left.  Within hours, the heat and humidity affected Bourke-White's movements and speech, and she had to be taken, temporarily, to an area where she could breathe better air.

Bourke-White biographer Vicki Goldberg has said that this compelling image was one of the photographer's favorites.  It is iconic Bourke-White—a simple, straightforward composition with each surface and element defined and integral.  She has exposed the miners' plight and oppression in the rivulets of their sweat, their expressions, and the compressed space, and has shared with the viewer her empathy and respect for their humanity.