Unusually for artist groups at the time, about one third of League members and participants were women and they served in visible leadership roles such as secretary, treasurer, vice president, and president. The League was the caretaker of the Lewis Hine Memorial Collection, which Hine's son had given the League in recognition of its role in fostering social activism through photography as his father had done. Eugene Smith, Helen Levitt, FSA photographer Arthur Rothstein, Beaumont Newhall, Nancy Newhall, Richard Avedon, Weegee, Robert Frank, Harold Feinstein, Ansel Adams, Edward Weston and Minor White. In the early 1940s, the list of notable photographers who were active in the League or supported their activities also included Margaret Bourke-White, W. Influential members Īmong the members of the League were co-founders Sol Libsohn and Sid Grossman (director of the Photo League School) Morris Engel (from 1936) Arthur Leipzig (from 1942) Ruth Orkin, Jerome Liebling, and Lester Talkington (all from 1947) Walter Rosenblum (editor of the Photo League Photo Notes) Eliot Elisofon (a Life magazine photographer) Aaron Siskind Jack Manning (a member of the Harlem Document Group of the League and a New York Times photographer) Dan Weiner Bill Witt Martin Elkort Lou Bernstein Sy Kattelson Louis Stettner and Lisette Model. More than anything else, though, the League was a gathering place for photographers to share and experience their common artistic and social interests. A newsletter, Photo Notes, was printed irregularly, depending upon who was available to do the work and if they could afford the printing costs. It also offered basic and advanced classes in photography when there were few such courses in colleges or trade schools. Unlike other photography organizations, it did not espouse a particular visual style but instead concentrated on “integrating formal elements of design and visual aesthetics with the powerful and sympathetic evidence of the human condition”. The League quickly became active in the new field of socially conscious photography. The goal of the newly reformed Photo League was to “put the camera back into the hands of honest photographers who.
The two organizations remained friendly, with members of each group often participating in activities of the other. Paul Strand and Ralph Steiner established Frontier Films, to continue promoting the original goals, while Strand and Berenice Abbott renamed the original group “The Photo League”. In 1934, the still photographers and the filmmakers in the League began having differences of opinion over social and production interests, and by 1936 they had formed separate groups. Its goals were to “struggle against and expose reactionary film to produce documentary films reflecting the lives and struggles of the American workers and to spread and popularize the great artistic and revolutionary Soviet productions”. In 1930, the WIR established the Workers Camera League in New York City, which soon came to be known as the Film and Photo League. The League's origins traced back to a project of the Workers International Relief (WIR), a Communist association based in Berlin. Department of Justice blacklist with accusations that it was a communist, anti-American organization. It ceased operations in 1951 following its placement in 1947 on the U.S. Founded in 1936, the League included some of the most noted American photographers of the mid-20th century among its members. The Photo League was a cooperative of photographers in New York who banded together around a range of common social and creative causes. New York City photographer's cooperative (1936–1951)
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