In July of 1964, Dorothea Lange, fatigued and distressed by the esophageal cancer that would take her life a year later, participated in a series of interviews with a San Francisco television station. Having spent half a century making photographs, including the iconic “Migrant Mother,” for which she would be most remembered, Lange struggled, when asked by the reporter, to locate her own achievements within the medium’s pantheon. She took the question almost literally, choosing to describe her relationship to her peers in physical terms. Of Walker Evans, the preeminent American documentarian,