MIGRANT FAMILY at DYKES, Clyde Keller photo, 1973, Fine Art Print, Black and White, Signed

$155.00



Vintage Photography (Early Summer 1973)



"MIGRANT FAMILY At DYKES"
Washington County, Oregon
Early Summer 1973, Dykes Migrant Camp


16x20 Inch Archival Giclee Print, true archival print, 150+ years
Satin Paper, Pigmented Inks
Image Dimensions @ 12x18 Inches with white border
Signed/Titled and Dated by Clyde Keller
Presented in Archival Sleeve, Unframed
Shipped Flat, Insured with Tracking
PRICE: $280.00

OR--

11x14 or 12x18 inch Fuji Crystal Archive photographic print(s)
Lustre Paper, fade resistant for over 20 years
Image dimensions @9x13.5 or 11x16.5 inches with white border
Signed/Titled and dated by Clyde Keller
Presented in archival sleeve, Unframed
Shipped Flat, Insured with Tracking
PRICE: $155.00 and $195.00

NOTE: The printed copyright information appearing on the web display print, is removed for your purchase print.

Cucumbers. Acres of cucumbers in the rich turd brown fields of Washington County, Oregon picked by migrant farm laborers. Chicanos mostly, who were recruited from Texas to live in smallish plywood shacks built by such landowners as Ron Tankersley, who owned some of the most notorious camps with the worst conditions. It was on his land that many of my photos were taken showing the actual conditions the workers and family members lived in. He would recruit them with false advertising showing them photos of pretty "modern-style houses"-- and when they'd arrive in Oregon they found plywood shacks-- a typical bait and switch tactic. In an interview and portrait session, Ron Tankersley, told me, the pickers love to "camp" here, it's like a "vacation" for them. In reality, families, sometimes over a dozen children, all lived together in square, a 20x20 foot one room plywood shacks with inadequate water, heat, and "moldy" damaged mattresses. Later, Ron served jail time, according to an article published on May 6, 1989 in the Eugene Register Guard for using illegal contractors.


I was there to take pictures of them-- and here in the Land of Opportunity they were all seemingly proud. But these scenes resembled another America to me, going back in time to the 1930s or before. Bathrooms, water and cooking facilities were outside the campground shacks.

I was hired to document these conditions and also, to record their stories. And so, in 1974, I took my Nikon cameras, lenses and my new Sony audio cassette recorder with me to the migrant farms, out to the fields, up close to show the back-breaking reality these people endured."

I always traveled in cars driven by Chicanos who knew the farms and conditions, who now were living here permanently, and who spoke English. They had once picked in these fields and now were guides taking me to these choice areas to make documentary photographs. My principal guide for several of the cucumber field photos was a young 22 year old Chicano, Amador Arturo, who was living outside of Forest Grove, in an isolated rural highland area. He carried with him one of the pocket books from the famous “Tales of Don Juan” trilogy and was quite outspoken. He didn't trust the American culture and over a period of months became more withdrawn into his own Chicano culture. But, during these days of my project had the time to be my guide and wanted to take me to the hot spots.

We would arrive at these fields in the morning, ready to rock and roll. I recall the fields appeared vast to me, and unending sea of cucumbers with Migrant pickers could be seen across the landscape, all of them working in unison. This was not a picnic. I wanted to show the immensity, the large scale of the operation and went into the fields to work up close. Standing in the dirt, the pickers were shown up close as they bent down towards the ground. The effect of the wide angle lens was that the rows of pickers would rapidly disappear into the backdrop of the fields. Marching forward through the rows of workers, I found many pictures. Sometimes a single worker would be featured, so that they filled the frame of my camera. I used hand gestures rather attempted dialog, worked quickly and grabbed shots as they occurred. Then with my 300mm telephoto, I focused on individual laborers so that the background became compressed, the far reaches of the fields now right upon their backs, the workers in sharp detail. Young children, perhaps seven or eight year old beamed at me and I snapped lots of photos of them from the ground looking up so that they appeared to be giants. All of the workers were proud of their work and it showed in these photos.

My documentary image was made utilizing a Nikon F film camera. The detail is enhanced by my use of an ultra sharp 24mm Nikkor wide angle lens. The exposure was made on Kodak Tri-X film. The original negatives have been kept in dark storage and are in pristine condition.


"Migrant family at Dykes" Copyright © 1973 by Clyde Keller



ABOUT CLYDE KELLER:

Hi, I'm a photographer and artist selling my fine art prints at clydekellerphoto.etsy.com.

My work is sold as Fine Art Giclee (inkjet) prints or fade resistant Fuji Crystal Archive (photographic) prints.

Clyde is known internationally for his historic photographs of Robert F. Kennedy. His RFK images are featured in Rory Kennedy's documentary film, "ETHEL" which debuted at the 2012 Sundance Film Festival. The RFK Center for Justice and Human Rights has recently acquired key images from Clyde's RFK portfolios for their collection. Historic photos of author Ken Kesey, William Burroughs and actor Bill Murray are featured in Mark Christensen's book Acid Christ. Clyde's portrait of actor/director Warren Beatty is the cover photo for Peter Biskind's, Star. Several vintage documentary images appear in a new NFL films project, entitled, "Fearsome Foursome" as well as Dan Forrer's upcoming HBO documentary film centering on the birth of Hip Hop music. The Seattle Museum of History and Science now features his vintage Seattle skyline panoramas. His regional portraits of surviving pioneer families (and characters) appear in several new books, periodicals and webzines, including Ken Bilderback's, Creek with No Name, a new soft cover about the history of Cherry Grove, Oregon.

Clyde is the grandson of Clyde Leon Keller, (1872-1962) an important Oregon-based Plein-Air Impressionist Painter. His portfolios can be viewed at www.clydekeller.com.

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