188). .
The next photograph, Coles says that he is not impressed with Lange's choice of pictures because it shows two people during the Great Depression wearing nice clothing, which looked well fed, and who had a car. In the second picture of the two, Lange cropped the photo to zoom in on the intensity of the face, and as Cole's says, "Lange turns the photograph into a melancholy statement that embraces more than the population of a California agricultural region" (Coles p. 190). When you look at the picture of the man by himself, he seems to appear forlorn and even a bit sad. But once you add the woman back into the picture, the imagery begins to change. This content expression leaves room for argument from the viewer. One can now look at this picture and say that the man is not really having such a rough and lonely life. He has a female companion who seems to be content with her situation. One can now speculate that their situation can not be that bad. Therefore, by cutting out the woman, the picture becomes better at showing the sufferings and hardships endured by the man.
Lange goes on to discuss a few more photographs during the economic disaster, and she wanted the viewers to see the world being left and the world being sought. These pictures have a way of being "contagious" as Coles says that one photo can set in motion another, that the willingness to solve a problem quickly can sometimes be very costly.
As Coles say Paul Taylor reminded us of "Walker Evan's genius for careful, sometimes provocative cropping and editing of particular photographs-his ability to sequence his prints, look at their narrative momentum, and choose particular ones for presentation" (Coles p.197). Walker Evans, like Lange, crops photos to force viewers to focus on a specific area, giving them no room to wander. Evans has his own, unique style, as he resists some aestheticism, like the last photo in the sequence of the little girl picking cotton (Figure 11 on p.