Men at Work, a photographic project by Lewis Hine, spans the 1920s and early 1930s and culminates in his 1932 publication of the same name. By focusing on industrial workers in urban centers like New York, Hine’s work transitions from exposing the challenges of labor to celebrating the dignity and contributions of the American workforce. Known for his earlier efforts to combat child labor and document immigrant lives, Hine’s Men at Work marked a pivotal moment in his career as he turned his lens toward affirming the human spirit amidst rapid industrialization.
Set against the backdrop of a transforming United States, the project emerges during the Roaring Twenties, an era defined by technological innovation, urbanization, and the rise of modernism in art and culture. Hine’s photographs resonate with the societal desire for optimism after World War I and address concerns over the dehumanization of labor. The construction of monumental structures like the Empire State Building serves as both subject and symbol in Hine’s imagery, embodying progress while celebrating the individuals whose labor brought such achievements to life. These images offer a counter-narrative to the mechanization of work by emphasizing the essential role of human skill and effort in driving industrial progress.
Hine’s artistic intent revolves around portraying the dignity and value of labor. Through themes like pride in craftsmanship, the interconnectedness of man and machine, and the beauty of industrial processes, he reframes workers as skilled and purposeful participants in the modern age. His visual language juxtaposes workers with massive machines and structures, often using dramatic lighting and compositional framing to highlight their centrality and individuality. His “work portraits” capture authentic moments of concentration and physicality, often employing natural light to emphasize texture and form while creating a gritty yet respectful aesthetic.
Technically, Hine relied on large-format cameras, skillfully navigating the challenges of industrial settings to create detailed, high-resolution images. He adhered to "straight" photography, emphasizing realism and avoiding manipulation to preserve the credibility of his social message. Titles like Brakeman and Printer further underscore the identity and value of each trade, linking modern labor to historical craftsmanship traditions.
On publication in 1932, Men at Work was well reviewed and adopted in educational contexts—it was selected by the Child Study Association as an outstanding book—while Hine’s earlier industrial shows (National Arts Club, 1920; Civic Club, 1921) and an Art Directors’ Guild photography prize (1924, for The Engineer) had already signaled critical interest. MoMA acquisitions (from 1938) and the Riverside Museum retrospective (1939) broadened its visibility. The project is widely cited for shaping documentary views of labor and for the emblematic Empire State Building photographs.
