

His camera captured the Dust Bowl's despair, shaping how America saw its own hardship and the power of documentary truth.
Arthur Rothstein was a pioneer with a camera, one of the first photographers hired by the Farm Security Administration during the Great Depression. His images did more than document; they defined an era. His 1936 photograph of a farmer and his sons walking through a dust storm in Cimarron County, Oklahoma, became an indelible icon of struggle and resilience. Rothstein believed photography was a tool for social change, and his work for the FSA, later for Look magazine, and as a director at Parade, consistently aimed to inform and move the public. He mastered the technical craft but never let it overshadow the human story, leaving a visual record that taught a nation to see the dignity and plight of its own people.
1901–1927
Grew up during the Depression, fought World War II, and built the postwar economic boom. Defined by shared sacrifice, institutional trust, and a belief that hard work and loyalty would be rewarded.
Arthur was born in 1915, placing them squarely in The Greatest Generation. The events that shaped this generation — world wars, depression, and rapid industrialization — shaped the world they entered and the choices available to them.
The biggest hits of 1915
#1 Movie
The Birth of a Nation
The world at every milestone
The Lusitania is sunk by a German U-boat
Women gain the right to vote in the US
Alexander Fleming discovers penicillin; Mickey Mouse debuts
The Empire State Building opens as the world's tallest
FDR's New Deal launches; Prohibition ends
Jesse Owens wins four golds at the Berlin Olympics
WWII ends; atomic bombs dropped on Hiroshima and Nagasaki
Rosa Parks refuses to give up her bus seat
US sends combat troops to Vietnam
Fall of Saigon ends the Vietnam War
Live Aid concerts raise money for Ethiopian famine
He began his photography career while still a student at Columbia University.
A controversy arose when he was accused of staging a photo of a cow's skull in the South Dakota dust; he defended it as a legitimate demonstration of conditions.
He was a founding member of the American Society of Magazine Photographers.
Later in his career, he became a vocal advocate for photographers' rights and copyright protection.
“Photography is a language, and the photographer must be fluent in it.”