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           One of the most enduring images of the Depression is a portrait of thirty-two-year-old Florence Thompson and her children sheltered under a tent in a camp of migrant pea pickers near Nipomo, California. Taken by FSA photographer Dorothea Lange, "Migrant Mother" was the last of a series of six photographs that she shot on a rainy afternoon in March 1936. "Lange did not arrive at this final composition by accident," writes James Curtis, "but by patient experimentation with various poses." Curtis reconstructed Lange's original sequence of pictures to reveal the process that led up to the creation of the final celebrated image. Changing perspectives, Lange's camera selected and excluded details and people, and changed the poses of her subject as she progressed toward a final image that recorded the plight of rural migrants but also conveyed a "universal" symbol that would appeal to a middle-class, urban audience. Compare "Migrant Mother" with the five photographs leading up to it and try to determine the process behind the documentary photographer's work and the pictorial strategies used to create images that provoked public interest and sympathy.