Workers: The Human Clay (Steidl, 2023), edited by Joshua Chuang, presents an extensive overview of Lee Friedlander’s enduring interest in work and working people, spanning nearly seventy years. This volume assembles 253 photographs taken between 1958 and recent times, offering a profound exploration into Friedlander’s longstanding artistic engagement with labor. Rather than merely depicting traditional roles such as manual laborers, the book broadly defines work to include diverse professions and activities, examining how each shapes individuals’ lives.

Among Friedlander’s vast bibliography exceeding 80 published works, Workers stands out as the concluding volume of The Human Clay, a six-part thematic series. This series highlights Friedlander’s vision of humanity as continually adaptable, molded by both personal experiences and occupational demands. Workers emphasizes the connection between one’s occupation and identity, proposing that the nature of our labor significantly reveals truths about our personal essence.

The book itself exemplifies Steidl’s renowned excellence in printing and presentation. Numerous photographs appear here for the first time, while others have been meticulously reprinted, enhancing their visual impact. Joshua Chuang’s thoughtful editorial decision rejects a conventional chronological or geographic arrangement in favor of an intuitive sequence. Groupings are sometimes thematic—such as images of office workers, athletes, or performers—but also juxtaposed with less obviously related photographs, encouraging viewers to draw connections across diverse contexts.

Structurally, the book balances depictions of manual labor with representations from creative and cultural industries. This arrangement invites contemplation on the expansive definition of work, further reinforced by varied captioning techniques. While some images clearly identify occupation, location, and date, others intentionally omit these details, prompting viewers to reconsider informal or incidental activities as equally valid forms of labor.

Opening with an excerpt from John Williams’ 1965 novel “Stoner,” Workers aligns with the sentiment that labor is a fundamental means of self-formation. Friedlander’s photographs consistently avoid idealizing or dramatizing occupational activities, focusing instead on authentic interactions and postures. Humor emerges naturally through compositional quirks rather than from explicit judgments of the subjects’ roles.

As photographer and critic Martha Rosler observed in 1975, Friedlander seldom delves deeply into the psychology of his subjects, instead capturing brief, evocative glimpses of human interaction and expression. Friedlander’s imagery emphasizes adaptability, portraying workers responding physically and emotionally to their roles, whether they are opera singers mid-performance, technicians managing complex tasks, or workers captured in moments of repose or reflection.

Ultimately, Workers underscores a universal truth—that a lifetime of labor significantly influences personal identity but does not wholly define it. Friedlander’s empathetic approach reveals the dignity and humanity inherent in every form of work, allowing us to appreciate the varied rhythms and experiences of people’s professional lives.