Ralph Steiner (February 8, 1899 – July 13, 1986) was an American photographer, pioneer documentarian and a key figure among avant-garde filmmakers in the 1930s. Photographer Born in Cleveland, Steiner studied chemistry at Dartmouth, but in 1921 entered the Clarence H. White School of Modern Photography. White helped Steiner in finding a job at the Manhattan Photogravure Company, and Steiner worked on making photogravure plates of scenes from Robert Flaherty's 1922 Nanook of the North. Not long after, Steiner's work as a freelance photographer in New York began, working mostly in advertising and for publications like Ladies' Home Journal. With fellow graduate Anton Bruehl (1900–1982), in 1925, they opened a studio on 47th Street, producing a narrative series of amusing table-top shots of three cut‑out figures dressed in suits for The New Yorker magazine; advertisements for Weber and Heilbroner menswear in a running weekly series. Their client was wiped out in the Wall Street Crash. Through the encouragement of fellow photographer Paul Strand, Steiner joined the left-of-center Film and Photo League around 1927. He was also to influence the photography of Walker Evans, giving him guidance, technical assistance, and one of his view cameras. Filmmaker In 1929, Steiner made his first film, H2O, a poetic evocation of water that captured the abstract patterns generated by waves. Although it was not the only film of its kind at the time – Joris Ivens made Regen (Rain) that same year, and Henwar Rodakiewicz worked on his similar film Portrait of a Young Man (1931) through this whole period – it made a significant impression in its day and since has become recognized as a classic: H2O was added to the National Film Registry in December 2005. Among Steiner's other early films, Surf and Seaweed (1931) expands on the concept of H2O as Steiner turns his camera to the shoreline; Mechanical Principles (1930) was an abstraction based on gears and machinery. In 1930, Steiner joined the faculty of the so-called Harry Alan Potamkin Film School, which folded shortly before Potamkin's death in 1933; there he met Leo Hurwitz and, inspired by Hurwitz' ideas of utilizing film as a means of social action, left the Film and Photo League and joined Nykino, a loose coalition of New York-based cinematographers who pooled footage for use in left-wing newsreels shown at worker's rallies, conventions and during strikes. Precious few of these films have survived, most being