As the 15th child of black Kansas sharecroppers, Gordon Parks knew poverty. Koudelka’s visual memories of the unfolding conflict—with its evidence of the ticking time, the brutality of the attack and the challenges by Czech citizens—redefined photojournalism. The 10 most famous ghost pictures ever taken. As Neil Young wrote in the song “Ohio,” inspired by a LIFE story featuring Filo’s images, “Tin soldiers and Nixon coming/ We’re finally on our own/ This summer I hear the drumming/ Four dead in Ohio.”. The photo earned Forman the Pulitzer Prize and led municipalities around the country to enact tougher fire-escape-safety codes. When it was over, four students were dead, nine were wounded, and the innocence of a generation was shattered. January 4th 1912. source The RMS Titanic sunk on the night of the 14th of April and morning of the 15th – resulting in the deaths of over 1,500 passengers and crew. But the economy faltered, inflation soared, and unrest grew. Somewhere in the Sea of Tranquillity, the little depression in which Buzz Aldrin stood on the evening of July 20, 1969, is still there—one of billions of pits and craters and pockmarks on the moon’s ancient surface. Decades before Ansel Adams ever saw Yosemite’s jagged peaks, Carleton Watkins packed his mammoth plate camera, tripods and a makeshift tent darkroom on mules and ventured into the remote California valley. “The window [into] North Korea has opened another crack,” he wrote on his widely followed account. Muybridge’s stop-motion technique was an early form of animation that helped pave the way for the motion-picture industry, born a short decade later. When Robert Frank’s book The Americans was released, Practical Photography magazine dismissed the Swiss-born photographer’s work as a collection of “meaningless blur, grain, muddy exposures, drunken horizons and general sloppiness.” The book’s 83 images were taken as Frank crisscrossed the U.S. on several road trips in the mid-1950s, and they captured a country on the cusp of change: rigidly segregated but with the civil rights movement stirring, rooted in family and rural tradition yet moving headlong into the anonymity of urban life. Not averse to orchestrating a shot, he dispatched his assistant, Louie Liotta, to a Bowery dive in search of an inebriated woman. Vintage . By thumbing its nose at both danger and the Depression, Lunch Atop a Skyscraper came to symbolize American resilience and ambition at a time when both were desperately needed. The picture, which earned Rosenthal a Pulitzer Prize, so resonated that it was made into a postage stamp and cast as a 100-ton bronze memorial. In 1997, Philippe Kahn was stuck in a Northern California maternity ward with nothing to do. Along the way they gathered youngsters from other schools, including a 13-year-old student named Hector Pieterson. It’s a picture that in some ways did everything wrong if it was striving for heroism. That it did. Concept of time, history, science, memory, information. Officials censored photos of the bomb’s devastation, but Levy’s image—the only one to show the full scale of the mushroom cloud from the air—was circulated widely. Nachtwey brought back a cache of haunting images, including this scene of a woman waiting to be taken to a feeding center in a wheelbarrow. Menu Rare Historical Photos. Neither do we. But that was not what James VanDerZee saw when he gazed through his camera lens. Some, he noticed, appeared to penetrate solid objects and expose sheets of photographic paper. Associated Press photographer Joe Rosenthal lugged his bulky Speed Graphic camera to the top, and as five Marines and a Navy corpsman prepared to hoist the Stars and Stripes, Rosenthal stepped back to get a better frame—and almost missed the shot. Since she burst onto the art scene in the late 1970s, Cindy Sherman the person has always been obscured by Cindy Sherman the subject. And while the man known as Doc captured other blink-and-you-missed-it moments, like balloons bursting and a bullet piercing an apple, his milk drop remains a quintessential example of photography’s ability to make art out of evidence. After four years of fighting and photographing across Eastern Europe, the Red Army soldier arrived in the heart of the Nazis’ homeland armed with his Leica III rangefinder and a massive Soviet flag that his uncle, a tailor, had fashioned for him from three red tablecloths. As Lincoln later admitted, “Brady and the Cooper Union speech made me President of the United States.”. At the time, LIFE withheld the gruesome frame No. Steve McCurry – American photojournalist famous for his image “Afghan Girl”, cover of the June 1985 National Geographic. Is Edward Steichen’s ethereal image a photograph or a painting? And, again, even if we have no idea what he was protesting or don't recognize the name Thich Quang Duc, we know that image and we know its power. The image became a symbol of the Abu Ghraib prison abuse scandal after it was released, among others, in late April 2004. But no confirmation was ever presented, and most believe that Capa’s is a genuine candid photograph of a Spanish militiaman being shot. “At first, I ran away from the scene,” recalled Sam Nzima, who was covering the protests for the World, the paper that was the house organ of black Johannesburg. When the tiara- and fur-bedecked socialites arrived for the opera, Weegee gave Liotta the signal to spring the drunk woman. For decades, the California Dream meant the chance to own a stucco home on a sliver of paradise. In a single large-scale image digitally stitched together from multiple images taken in a 99 Cents Only store in Los Angeles, the seemingly endless rows of stuff, with shoppers’ heads floating anonymously above the merchandise, more closely resemble abstract or Impressionist painting than contemporary photography. None other than the painter Pablo Picasso admired The Steerage’s cubistic sense and wrote that both he and Stieglitz were “working in the same spirit.”. Hundreds of photojournalists covered the conflict in Iraq, but the most memorable image from the war was taken not by a professional but by a U.S. Army staff sergeant named Ivan Frederick. A few days later, Associated Press photographer Peter Leibing was tipped off that a defection might happen. “People tell me that when I’m in heaven,” Eisenstaedt said, “they will remember this picture.” (Photo credit: Alfred Eisenstaedt). Some of the gathered townspeople wailed, their arms wide. He transmitted his photographs immediately, and by the following day they were published around the world. At its best, photography captures fleeting snippets that crystallize the hope, anguish, wonder and joy of life. 31 25 4. Guttenfelder dutifully chronicled the official events and stage-managed pageants in Pyongyang, but his eye kept wandering to the scenes of daily life just beyond the guided tours. The classical framing, with the lines of the bricks evoking the lines of the bricklayer’s vest, reinforces the dignity of the subject. It’s never easy to identify the moment a hinge turns in history. By April 2004, some 700 U.S. troops had been killed on the battlefield in Iraq, but images of the dead returning home in coffins were never seen. Donald Trump Celebrity. LIFE correspondent Richard Stolley bought the film the following day, and the magazine ran 31 of the 486 frames—which meant that the first public viewing of Zapruder’s famous film was as a series of still images. No shortage of others followed in his wake. In the last three months of 2003, Frederick was the senior enlisted man at Abu Ghraib prison, the facility on the outskirts of Baghdad that Saddam Hussein had made into a symbol of terror for all Iraqis, then being used by the U.S. military as a detention center for suspected insurgents. A beautiful image, but one unlikely to have endured had Nike not devised a logo for its young star that bore a striking resemblance to the photo. Her work helped bring violence against women out of the shadows and forced policymakers to confront the issue. His image quickly became a wrenching case study in the debate over when photographers should intervene. As the curator Peter Galassi wrote in the catalog for a 2001 retrospective of Gursky’s work at the Museum of Modern Art in New York City, “High art versus commerce, conceptual rigor versus spontaneous observation, photography versus painting … for Gursky they are all givens—not opponents but companions.” That ability to render the man-made and mundane with fresh eyes has helped modern photography enter the art world’s elite. Strumpf’s photo of that specter with cut-out eyes is a sobering reminder of how we were all diminished when the world realized that nothing was secure. It was pitch-perfect brand making, with Kennedy on the cover of the world’s most widely read photo magazine, cast as a self-assured playboy prepared to say goodbye to bachelorhood. The faces of collateral damage and friendly fire are generally not seen. 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