Elementary Teacher

While photographing in Mexico, Strand recalled "... When [he] began to make portraits, especially in Mexico in 1933, that the Graflex was perfect with the attachment of a prism for photographing the people without their knowing that they were being photographed-which was absolutely essential because the Mexican-Indians don't like to be photographed." * Although controversial, the use of a hidden lens was common during this time and necessary to capture the raw emotions of this time. This was a popular practice for Strand during this time. He felt as though the less the subject knew about the photograph being taken, the more “real” the image would be. Although Strands attempts were genuine, there was an obvious cultural and power disconnect and between Strand and his subjects in Mexico. Strand placed himself at considerable risk by traveling through old war zones with accouterment and a translator. With the help of Narcisso Bassols, Strand was able to create an exhibit unlike any other he'd completed before. People from all walks of life visited his exhibit as it became apart of the street life and market culture. Although Strand's exhibit received much success, he needed to find work in order to prolong his stay in Mexico. His first job was at elementary school working twelve hours weekly and receiving permissions to travel and photograph additionally. This allowed for Strand to further assimilate himself into the culture and witness what life was actually like for the natives. Although it is unknown how long Strand spent teaching elementary art, he still completed an exhibit of children's artwork in Michoacán.  Photographs of Mexico is a distinguished work of art as each photograph leads into or introduces the next photograph, which inadvertently enhances the previous photograph. Strand sought to create a social history visually while in Mexico, but neglected to capture aspects of the culture such as the degradations of poverty and wealth, industry and technology, and indigenous contexts. However, what he did capture was proven to be both complex and stunning. Strand's time in Mexico came at an intense time when the country had just gotten out of social and cultural conflict. As with many conflict and wars, although they may end, conflict was still lingering in Michoacán.

*  Kripner, James. “Traces, Images, and Fiction: Paul Strand in Mexico.” The Americas 63, no. 3 (Jan 2007): 359-383.