EYEWITNESS

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EYEWITNESS
1 5 0 Y E A R S O F P H O T O J O U R N A L I S M

Richard Lacayo and George Russell

TIME
CONTENTS

Introduction 7

I. BEGINNINGS: 1839-1880 RichardLacayo 9

II. GLOBAL NEWS: 1880-1920 George Russell 31

III. CONSCIENCE: 1880-1920 Richard Lacayo 55

IV. MAGAZINE DAYS: 1920-1950 George Russell 67

V. NEW DIRECTIONS: 1950-1980 George Russell 125

VI. RESURGENCE: 1980-1995 Richard Lacayo 165

Photography Credits 190

Index 191
INTRODUCTION
T
his book grew from a special issue ol T I M E Magazine
thai was published in 1989 to celebrate the 150th
anniversary of photojournalism. A fallen of many of
-
the most memorable photographs ever taken, the issue
was hailed by leaden, M i m e ol whom wrote to suggest
the contents should be collected in more permanent torm.
I'ollowing their advice, 'I EMI published Eyvzvifmvu: 110 Yean of
Pho/ojournu/iim in hardcover form in 1990. The book was a
greatly enhanced version of the maga/iuc, allowing the pre-
sentation ot manv more photographs and permitting writers
Richard I -acayo and George Russell to expand their informed
and insightful survey ot their subject.
This second edition ot F.ycwittn-xs upatOX the final chapter ot
the book to include new photographs from the 19'JOs. These
new pictures include images that have already achieved the sta-
tus ot contemjxirary icons: the grief-stricken firefighter earning
a small child from the bombed federal building in Oklahoma
City, I crowd in Somalia jeering as the dead body of a U.S. sol-
dier is dragged through the streets.'Hie new material amply con-
firms Richard I .acayo s conclusion in the final chapter of the
l^W edition: despite the currency and availability ot video
images, the still picture retains a unique power to move minds.
In hi* introduction to the first edition ot Jiyruri/Mis, Donald
Morrison, then special projects editor of T I M E , issued this
warning to readers: "Photojournalism, the industrial strength
version ot photography, is an untidy collision ot art. reportage
and commercial publishing. It is often not pretty. As a tair rep-
resentation ot the cratl s I SO years, this book depicts a shocking
number of wars and other tragedies." The new pictures in this
edition of the book are no less troubling. Readers will find M i r
row and misery in the images collected here—but they will
also find courage and dedication on the other side ot the lens.
—The Kditors
I: BEGINNINGS 1 8 3 9 - 1 8 8 0

H
ERE IS .i PHOTOGRAPH O F A PARIS STREET, THE BOULEVARD THE PICTURE O F THE BOULEVARD DU T E M P L E . T H E OTHER WAS

DU T E M P L E , O N A BRIGHT DAY S O M E T I M E IN 1 8 3 9 . W I L L I A M I LENRY F O X TALBOT, AN KNGLISH SQUIN- WITH A COMFORT-

T A K E N FROM AN UPPCR-SLORY WINDOW, IT SHOWS A ABLE INCOME AND A MULTITUDE O F INTERESTS, W H I C H INCLUDED

TREE-LINED AVENUE THAT SLANTS TOWARD THE TOP OL THE MATHEMATICS, OPTICS AND DRAWING.

FRAME. T H E EVE TAKES IN EHIMNEVED ROOFTOPS, THE DAGUERRE PERFECTED HIS METHOD, WHICH PRODUCED AN IMAGE

DRAWN CURTAINS O F AN APARTMENT, EVEN THE SEPARATE UPON A SILVER-COATED E O P J X R PLATE, ON THE BASIS OF RESEARCH PUR

COBBLESTONES O F THE PAVEMENT. BUT BECAUSE P H O - SUED FIRST B Y J O S E P H NICCPHORE N I E P C E . A PROSPCNNIS GENTLE-

TOGRAPHY IS STILL IN ITS INFANCY; A N E W PROCETT THAT MAN-INVENTOR WITH W H O M DAGUERRE HAD JOINED IN PARTNER

REQUIRES AN EXPOSURE TIME OF SEVERAL M I N U T E * , NOTHING THAT SHIP IN 1 8 2 * * . W H E N N I E J X E DIED FOUR VEARS LATER. DAGUERRE

MOVES QUICKLY HAS REGISTERED ON THE PLATE. N O N E OT THE CAR WENT TORWARD ON HIS OWN UNTIL HE ARRIVED AT A TECHNIQUE THAI

RIAGES, HORSES OR PEDESTRIANS THAT PASSED BEFORE THE LENS ON PRODUCED CLEAR, STABLE IMAGES. A T THAT POINT, FRANCOIS ARAGO, A

THIS DAY HAVE LEFT A TRACE—WITH ONE EXCEPTION. O N A STREET FRIEND AND M E M B E R OT THE TRENCH A C A D E M Y OF SCIENCES, PER-

CORNER IN THE LOWER PART O F THE FRAME, IT IS POSSIBLE TO MAKE OUT SUADED DAGUERRE TO M A K E HIS METHOD AVAILABLE FREE O F CHARGE

THE SMALL, BLURRED SILHOUETTE OT A M A N . I LE HAS LIFTED A LEG TO LO THE WORLD, WHILE HE ENCOURAGED THE FRENCH GOVERNMENT TO

HAVE HIS BOOT POLISHED, WHICH EXPLAINS W H Y HE HAS BEEN STAND PROVIDE LIFETIME PENSIONS FOR DAGUERRE AND FOR N I E P E E ' S SON.

ING IN ONE SPOT KING ENOUGH TO LEAVE HIS I M A G E , HUT NOT QUITE
"THE FRENCH A C A D E M Y ANNOUNCED DAGUERRE'S DISCOVERY IN
STILL ENOUGH TO B E IN GOOD LOCUS. T H I S IS THE FIRST KNOWN PHO
JANUARY O F 1 8 3 9 . LATER THAT YEAR, THE LEGISLANIRE IN PARIS FINAL
TOGRAPH O F A HUMAN IK-ING.
IZED ARRANGEMENTS TO SHARE DAGUERRE'S P N X E S S WITH OTHER

O N C E THAT SOLITARY MARGINAL SMUDGE HAS BEEN RECOGNIZED AS A NATIONS (EXCEPT BRITAIN; EVEN IN THIS MOMENT OF GLOBAL LARGESSE,

PERSON, THE WHOLE PICTURE SEEMS TO EMANATE FROM THE POINT HE FRANCE WAS NOT ABOUT TO OBLIGE ITS PERENNIAL RIVAL). T H E NEWS

IXVUPICS. IT'S IMPOSSIBLE TO LOOK AT THIS IMAGE NOW WITHOUT TEEL WAS GREETED B Y THE PRESS WITH INSTANT ENTHUSIASM AND I N THE

ING AN URGE TO BRING THAT ANONYMOUS M A N INTO FOCUS. W H I C H PUBLIC WITH AN EXCITEMENT THAT C A M E TO B E CALLED .iiigm-rrtoty-

LEADS US TO THE CHALLENGE THAT HAS DRIVEN PHOTOJOURNALISM FROM ponuntk. "OPTICIANS' SHOPS WERE CROWDED WITH AMATEURS PANT-

THE BEGINNING: HOW LO MAKE THE HUMAN RACE VISIBLE TO ITSELF. ING TOR DAGUCRRCOTV|X APPARATUS," ONE OBSERVER WOULD WRITE

THAT QUEST HAS LED THEM TO CONFRONT HOSTILE SURROUNDINGS, LATER. "EVERYWHERE CAMERAS WERE TRAINED ON BUILDINGS. E V E R Y -

NATURE'S CHALLENGES, CENSORSHIP, FALLIBLE EQUIPMENT, THE CONVEN- ONE WANTED TO RECORD THE VIEW FROM HIS WINDOW."

TIONAL TASTES O F PHOTO EDITORS AMI READERS, THE DISTORTING SCRIMS OF

W O N ! O F DAGUERRE'S TRIUMPH CAME AS A LESS WELCOME SUR-
THEIR OWN PREJUDICES, THE INHERENT LIMITATIONS ON WHAT A PHOTO-
PRISE TO TALBOT, WHO HAD B E E N WORKING SEPARATELY ON A DIFFER-
GRAPH CAN CONVEY, AND ALL THE COMPLEXITIES THAT SURROUND THE
ENT METHOD TOR PRODUCING IMAGES. UNAWARE OT THE FRENCH MAN'S
QUESTION O F " W H A T IS TRUTH?" PERHAPS MORE THAN ANY OTHER
RESEARCH, HE HAD PUT ASIDE INS EXPERIMENTS IN 1 S . * 7 , THOUGH NOT
BRANCH O F PHOTOGRAPHY, IT IS PHOTOJOURNALISM THAT HAS RESTED
BEFORE OBTAINING A SERIES O F PROMISING RESULTS. W I T H DAGUERRE
THE CAPABILITIES < IF THE CAMERA, THE PHOTOGRAPHER AND THE NEWER.
NOW BEING LIONIZED, TALBOT RUSHED TO PERFECT HIS PROCESS.

PHOTOGRAPHY WAS NOT THE INVENTION OF A SINGLE PERSON OR I LE CALLED HIS METHOD THE EALOTYPC, TROM THE ( I R E E K WORDS

M O M E N T . IT ARRIVED AT THE END OT A LONG SERIES OF DISCOVERIES, kiihs AND tupos, MEANING "BEAUTIFUL PICNIRC." ITS GREAT ADVANTAGE

S U M M O N E D B Y A LINE O F CHEMISTS, ARTISANS AND TINKERERS. A H OF WAS THAT IT PRODUCED A PAPER NEGATIVE TROM WHICH ANY NUMBER

THEM SLURED THE INTUITION THAT LIGHT COULD LEAVE A PERMANENT O F PRINTS COULD B E M A D E . ( T H O U G H IT WAS TECHNICALLY POSSIBLE

IMPRINT ON A TLAT SURFACE THAT HAD B E E N SPREAD WITH SOME C O M - FOR DAGUERREOTYPES TO B E DUPLICATED, IT WAS SO DIFFICULT THAT

BINATION OF CHEMICAL SUBSTANCES. THEIR DISCOVERIES CULMINATED NEARLY ALL O F THEM REMAINED O N E - O F - A - K I N D PICTURES.) A DISAD-

IN THE WORK O F TWO M E N . O N E WAS I . M I L S JACQUES MAUDE VANTAGE WAS THE ROUGH TEXMRC O F THE PAJXR. WHICH DEPRIVED THE

DAGUERRE. A PARIS STAGE DESIGNER AND ENTREPRENEUR WHO TOOK O U O t y p c OF THE MIRROR-SURFACE CLARITY THAT WAS THE DAGUERREO
type'S CHIEF FASCINATION. E V E N THAT S E E M E D ATTRACTIVE TO TALBOT,

A S O M E T I M E ARTIST WHO PRIZED THE ATMOSPHERIC BLURRING OF

Boulevard du Temple, P a r i s [DETAIL)
EDGES THAT HIS METHOD PRODUCED. ("RCMHRANDRISH." HE colic '
Louisjattjuei Man,lt IXitnii'te, Iti\l9
 &om Harfa i Wttkly ol Union < icneral
Wood e n g r a v i n g P h o t o g r a p h o n w h i c h e n g r a v i n g w a s b a s e d fa /'•••.." OSh
I ' l \ S . (Itjnr it hi* hculquarter*
it.) The calotypc lends a gentle timclessness to many o f the
pages D I '/'Ac Pencil of Nature, the famous v o l u m e ot p h o -
tographs he published in segments between 1S44 and lS-4d.
Setting up his camera in various spots around his coimtrv
estate, Lacock Abbey, Talbot made pictures—of a havstack. a
solitary bush, a broom propped by an open doorway—that
possess an air ot the picturesque and the immemorial. 1 here is
no hint ot anv turmoil in the wider world.
lalbots prmxss never became as popular as Daguerre's. As
late as the mid-1840s, there were probably no more than a
dozen practitioners o f the calotvpe anvwherc in the world,
while dagueircotvpe studios were appearing by the dozens o n
both sides ot the Atlantii. Because the calotvpe method was
patented, any photographer using it was obliged to pay Talbot
a fee, giving professionals o n e more reason to prefer the
d a g u e r r e o t y p e . A n d the slight foggincss that made the calotvpe
•in ' " M s made it lcs% satisfying to the typical customer
for a portrait—a major drawback, since portraiture rapidly
became t h e most a i m n i o n and profitable use for photography.
h " ir to say that neither ot photography's two
to
inventors was entirely sure just what this new discovery would
be useful tor. It did not take long, however, tor some ot their
contemporaries to pose an obvious question. W h y shouldn't
this pencil ot nature setve as a pencil ot history too* II lace and
(lowers could inscribe themselves o n the photographic plate,
vvhv not battles, ribbon cuttings and earthquakes!- In 1 8 5 2 , in
a review o f the first all-photographic exhibition held in E n g -
land, the Times o f I .ondon rccogni/ed the larger jtotenrial ot
the camera. "It secures precise and charming representations o f
the most distant and the most evanescent scenes," the paper's
correspondent wrote. "It fixes, by almost instantaneous process-
es, the details and character ot events and places, which other-
wist- the great mass o f mankind would never have brought
h o m e to them."
T o the l ° r h centun- mind, w i t h its penchant for the scien-
tific and the mechanical, the camera quickly came to be- regard-
ed as the supreme mechanism, a kind o f trap for facts. Able to
capnire a scene in high detail, operated w i t h a m i n i m u m ot
h u m a n intenention, it seemed from the first to have a special
purchase on the tnith. Hut while dozens o f illustrated period-
icals in Europe and the United States w o u l d have liked t o
adopt the new f o r m , none was able to. For decades there was
no practical means to print photos and text on the s a m e p a g e .
T h e first workable method, called the halftone process, would
not enter into widespread use until the 18Ws. Until that time,
newspapers and weeklies could at best publish engravings
copied from photographs—sometimes copied closely, some-
times altered to make them more lurid, patriotic or sentimental.
In am case, the bulky camera gear o f the L9tfa century hard-
ly lent itself to stop-action coverage. By the tnid-lN5lk, both
the daguerreotype and the calotypc were being abandoned by
photographers in favor ot a new method, the wet plate pnKress.
It combined the clarity of a daguerreotype with the ealotype's
ability to produce duplicate images from a single negative,
opening the wav to a crucial advance, the mass production o f
images. In other respects the new process was more cumber-
some than its predecessors. Faeh negative was formed upon a
sheet o f glass that had to be coated with an emulsion before it
was inserted into the heavy box camera. A l t e r the picture w a s
taken, the plate had to l>c developed at once. T h a t obliged
photographers working out o f doors to travel w i t h a darkroom,
usually a horse-drawn van or a tent that could be pitched at the
site. Action shots were ruled out because the wet-plate process
could require exposure times ot 15 seconds or more. A n d while
history might be made at night, photographs almost never
were. Flash powder did not come into use until the 1880s.
charted remains. Neither man's pictures were widely seen ar the
time, however, and Biow's have since been lost. In the United
States the first photograph o f a public event was made two years
later, when Philadelphia was shaken by anti-immigration riots.
W i l l i a m and Frederick Langenheim, t w o of the city's most
enterprising photographers, aimed their daguerreotype camera
out the Upper-story w i n d o w of their studio to capture a scene of
the unruly en >wd assembled outside a bank. T h a t image too
received little notice at the time.
That was to be the late ot most of the earliest photographs
ot current events—to disappear before reaching much ot an
audience. D u r i n g the Mexican W a r of lS4f» 4S. an anonymous
dagucrreotypist made a series o f pictures that d i d survive,
mostly portraits o f officers and enlisted men. T h o u g h they
are probably the tirst photographs from a war zone, it appears
that the) were never displayed. Yet the audience for such pic-
nircs was growing. W i t h the press embarking upon a period o f
quick expansion—the result o f increasing literacy and advances
in rapid printing that made it possible to produce huge edi-
tions—"the people" were becoming "the public." C i v i l lite
w o u l d be transtormed. Popular prejudices were magnified by
the press, leading to a louder clamor and intensified passions.
In such a climate the Mexican W a r became a hugely popular
campaign o f expansion, at least on the American side, inspir-

In its cady decades, photography was best suited not so

much to fast-moving events as to the motionless rubble a n d
corpses left in their wake. The photographers w h o worked in
that era did not think ot themselves as photojournalism, e v e n
though their pictures might sometimes he picked Up by the
illustrated press. T h e appearance o f the first self-described
photojounialists w o u l d wait until the last decade ot t h e eentu-
ry, when the necessary technologies were all in place and the
mass-circulation press had evolved into the tabloid w o r l d ot
scandal and circulation wars. 1 loping that photographs w o u l d
pnivide an edge over the *om|K'tition, press lords like Joseph
Pulitzer and W i l l i a m Randolph I leant hired the tirst tull-
time news photographers. Yet t h r o u g h .til t h e earl) years ot the
cameras history-, there were photographers w h o , while they
never tinik the name "photojournalist," u n d e r s t i K u l themselves
to be pursuing timely subjects for a wide audience—in effect, t o
be reporting. T h o u g h thev may have been souvenir peddlers,
artist-entrepreneurs or just camera-equipped adventurers, thev
1
were also photojournalism.

T h e first event memorialized by a camera was a typical news

subject—a disaster. After fire destroyed much ot Hamburg.
Germany, in 1842, two G e r m a n dagucrreotypists, H e r m a n n
B H A V and Carl Ferdinand Stelzner. made a series o f views; o f the British o f f i c e r at ease in the C r i m e a Rpga Femtt % is
Union artillery a t Fredericksburg Tin "v 0'Su/ir,\f:, I sv» > O'Sullivan. one of some 20 photographers cmployw by Mjtthew Brady during
the Civil War. Took this picture just a* thr heavy pins went into j.tmn, JIU! had to hurrv Ml equipment WSJBM out ol the Unc ot lire.
ing newspapers to send o f f the first war correspondents. O n e
sign ol photography's growing prestige and impact was thai
editors took to promising their readers "daguerreotype reports,"
stories with a photograph's immediacy and detail—without
the photographs themselves.
It took another decade bclore a significant body ot war
photograph) was at last brought before a wide audience. Per-
haps it's only fitting that the pic hi res—scenes o f the Crimean
W a r made in by the British photographer Roger Fen-
t o n — d e m o n trite not onlv the capabilities o f the camera but
•bo the pitfalls. Fcnton worked w i t h the cooperation o f the
British government, and he served its purpose: to make pic-
tures that would dampen public outerv alxiut the misman-
agement o f the war. H i s pit • ei Open the history o f p h o t o -
journalism with a caution, u .in episode o f original sin.
Victt ny notwithstanding, the Crimean W a r was for the most
part a disaster tor Britain, which had joined France, Turkey
and Sardinia to block a Russian push against the O t t o m a n
Empire. T h e British military establishment was unprepared
12
tor modern warfare or tor the harsh conditions ot the Crimea,
a Russian peninsula o n the Black Sea. T h e fighting m e n suf-
fered terribly from disease and hunger, the septic conditions ot
their field hospitals, the interruption o f their seaborne supply
lines and the incompetence ot their officers. Cholera swept
through the ranks, eventually killing even the British c o m -
mander L o r d Raglan (something ot a blessing tor the troops,
given Raglan's maladroit battle tactics). T h e war found its per-
fect memorial in The Charge of tlx Light Brigade, a poem that
blows a tog ot sanctity around a lethal military blunder.
T h i s was the war that Fenton documented and, in some
measure, sanitized. Like Talbot, he was a well-to-do English-
man, the son of a mill owner and banker. T h o u g h trained as an
artist, he pursued I legal career until the l S 5 0 s . when he put
aside the law to indulge his passion tor the camera. Fenton
became one o f photography's great early masters; his land-
scapes and architectural studies in particular are some of the
most elegant products o f the 19th century camera. A c o -
founder o f the Royal Photographic Society, he also made pOT"
traits o f the British royal family, a connection that would even-
tually gain h i m entree to the battlefield. A s the government's
mishandling o f the war came under fierce criticism from the
press. Fen ton embarked for the C r i m e a w i t h a commission
from the Manchester print seller T h o m a s A g n e w and letters ot
introduction from Prince Albert.
T h e Prince, an enthusiastic promoter ot British photogra-
phy, understood the cameras powers o f persuasion. Kenton's
mission, in effect, was to counter the critics by bringing home
pictures o f a war /one more coherent than the one Described in
the Times o f L o u d o n . In March 1 S 5 F . he arrived at the Black
Sea port o f Balaktava with 700 glass plates and an old wine
seller's van he had convene*! into a traveling darkroom. Keen at
dockside, the chaos was so great that during the unloading o f
his equipment he broke several ribs. T h o u g h hobbled by his
injury, Fcnton was able to complete his project, returning to
Fngland four months later w i t h more than . I S O usable nega-
tives—and a serious case ot cholera. I le recovered, though not
soon enough to guide Q u e e n Victoria through the exhibition
ot his Crimea pictures that ojvrncd promptly in L o n d o n . T h e y
were also seen in Pari-, published a» w i x x l engravings in the
lttnitr,itt\iLondon AW;» and -old singly and in volumes, thixigh
sales dropped otT after the actual fighting ended.
Fenton's pictures were discreet bv the bloody standards o f
battlefield imagery to come: no glimpse* o f combat, no punc-
tured flesh that might ottend Victorian sensibilities. T h e r e are
scenes ot officers at leisure and soldiers drowsing at a mortar
batten'. A viewer w i t h an understanding ot battlefield condi-
tions might recognize that the flat plains o f the Crimea were a
soldier's nightmare, ottering the enemy a clear line of tire in all
directions. (Kenton himself was nearly shot several times, and
shcllfire once ripped awa\ the mot of his van. which looked it)
Russian gunners like an a m m u n i t i o n truck.) But w i t h the
exception ot one lamoudy ominous scene—a stark gully littered
w i t h c a n n o n h a l l — m o s t of Fenton's picture- give the impres-
sion that the war was. if not quite ceremonious, then at least no
more brutal or unsightly than a camping trip.
The images also sutler fnwn a thinness i o n mi. H I to much • >'
O
the early photography o f events—a sense that the heart of the
matter is elsewhere, just outside rhe range of the camera, just
beyond the fame. E v e n so, n o o n e can dispute that Kenton's
pictures represented' a watershed. C a m e r a s had arrived on the
battlefield. T h e curtain had gone u p o n the theater o f war.
In the decade that followed, I'cuton became deeply disillu-
sioned with photography. Just I I years alter he took up the
camera, he put it down Selling o t f his equipment and bis
prints, he returned tit the law, never t o take another picture.
T h o u g h his motives have never been cntirch clear, there is
some evidence that h e was repelled by the growing c o m m e r -
cialization of photography. T h i s was a c o m m o n sentiment
among those in Britain ami of! the Continent w h o were eager
to see photogtapln gtanted the status of art. Scarcely had the
camera been invented than there were complaints that it had
fallen into the hand- of philisrines and opportunists. As early as
1 8 5 7 , the great t r e n c h photographer Nadar was muttering
about hustlers swarming into the field ot p o r t r a i t u r e . " P i c t o g -
raphy," he sniffed, "is n o w within rhe reach o t the last imbecile."
T h e r e were fewer scruples on that issue in the U n i t e d
States, where the first gencrarion o f noteworthy photogra-
phers consisted largely o f businessmen more worried about
bankruptcy than commercialization. Yet it was one o f those
studio entrepreneurs —and eventual b a n k r u p t s — w h o w a s
chiefly responsible tor bringing photography t o one o f its great-
est achievements, the chronicling ot the American Civil War.
W h e n the fighting began in 1 8 6 1 , M a t h e w Bradv was
already the nation's U ••' ki iwn photographer. T h e son o f poor
ln-h tanner- from upstate N e w York, he won lame as an early
Home ol a rebel s h a r p s h o o t e r Alexundtr C W w r , 186J. To create
rhi* phtuic ol A purported rebel casually. Gardner used the same corpoe
he had n-i - h i is J t Inion -oldier (see page 24). He merely
dragged tfac • tfer-eJ body CO a new loejtion and repositioned it.
practitioner o f the celebrity portrait. At his studio on lower
Broadway, Brady displayed the "Gallery o f Illustrious A m e r i -
cans," a daguerreotype inventory o f politicians, generals and
men o f letters.
Brally's pursuit of the famous led him to maintain a second
studio in Washington, so he was well situated to record the
war's earliest clash o f troops. T h e first Bartlc o f Bull Run
broke out on J u l y 2 1 , 1 8 6 1 . in the wooded areas about 2 5
miles from the capital. N o sooner had news o f the fight
reached the city than Brady rushed tmvard the lines with his
cameras and two wagonloads o f darkroom equipment. All the
glass plate negatives he was able to expose that day were lost in
the scramble o f a I 'nion retreat. Brady himself spent three
days wandering lost in the woods. I le returned ID find press
reports that blamed his camera tor the Northern rout. " S o m e
pretend, indeed, that it was this mysterious ami formidable
instrument that p r o d u c e d the p a n i c ! " o n e c o r r e s p o n d e n t
reported. "'I*hc runaways, it is said, mistook it for the great
steam gun discharging five hundred balls a minute, and took to
their heels when the* got within focus."
Brady was not to be discouraged, however. As it would d o
for Ulys-es ( I r a n i , a tailed businessman who found unexpect-
ed greatness as a merciless general, the war mobilized Brady's
resources. It led him to conceive a project that dwarfed all his
c i t h e r ambitions: t o document the whole conflict through
photography. T o that end he fielded and equipped his own
small army of about 2 0 camera reporters. T h e wooden dark
room vans o f "Brady s Photographic C o r p s " became a familiar
sight at the edge ot battlefields. Soldiers even . amc to consid-
er them a bad o m e n , a sign that fighting was imminent.
Brady's "corps" included three m e n — T i m o t h y O'SulIivan.
Alexander G a r d n e r and ( i c o r g c N. Barnard—who went on t o
b e c o m e some o f the best-known photographers o f the centu-
ry. T h a t they are remembered at all owes much to the fact that
they eventually left Brady's employ, angered by his practice o f
attaching his name to their work. Brady rarely M e r i t e d the
c a m e r a himsell. I lis name on a photograph was more o f a
company trademark, a label that covered the work ot his small
army ot operatives in the field.
It w a s an age that t r u s t e d the c a m e r a m o r e than was
deserved. T h e popular bi-weekly Humphrey* even went so far
as to claim: " B r a d v never misrepresents." W e DOM knmv that
sexeral picture's made by Gardner were falsifications. I ne most
famous involves his use o f the same corpse in separate pictures
to represent both a Union and a Confederate soldier. After tak-
ing the picture A Sharpshooter'* Last Sleep, a portrait ot a dead
Union soldier. Gardner dragged the body, already stiff with
rigor mortis, about 4(1 yards t o serve as a Confederate corpse in
the picture Home of a Rebel'Sharpshooter.
A British e n t r e n c h m e n t during the Indian M u t i n y / . With hi pictun from China and hi* earlier scenes from the
Beats tSSS
mutiny—an uprising against ihc ronsolidation ol British rule in India—Bcato was a forerunner of the 2<Hh eentury phot< .journalists who would
witness the consequence^ ol lolonialisin in the I'hird World

It's no! hard to understand the frustration ih.il led Gardner
ID his ghoulish deception. O n e ol the painful discoveries ol the
early photographers was reality's resistance to the h u m a n
impulse to moralize. Painters a m i d dramatize events and
arrange scenes so that emotions like patriotism and pathos
enveloped the image. T h e real w o r l d was less tractable. T h e n ,
as now, it couldn't be counted on to provide the camera w i t h
neat allegories o f virtue triumphing over wickedness. As (lard
OCT discovered, it could not even he counted on to provide a
suitable Confederate corpse.
In the end, photography's blunlness proved to be a new
kind o f resource. T h e camera changed the depiction ol battle at
a time when war itself was changing, and w i t h it the public
understanding o| warfare. Hie Civil W a t was slaughter on an
unprecedented stale, more highly mechanized, with larger
numbers ol men set against one another. It was the beginning
o* the end t«»r the venerable notion that war was a glorious pur-
suit ( a n idea that has never been altogether di-lmiged In m i the
public imagination, but that becomes harder to sustain with
each new episode ol slaughter). I hen- w a - something about the
candid, unflinching character o f camera imager) thai suited
this emerging understanding and perhaps helped draw it our

Colossus of Ramses II at Abu Simbel \ t. mt I >ji ' 'amf
T h e pictures tli.it came OUt o f these battles gave war a new
face. Mark ami squalid.
'Hie Civil W a r photographers were not the first to display
combat c i l i l t i i T h a t distinct i< m probably belongs to James
Rt»bcrtson. j British phon>grapher w h o succeeded Kenion in
the Crimea and documented the captxircd citv ot Sevastopol.
There wvre even partially decomposed bodies in psturcs mtOC
by Robertson's colleague Felice Bcato during the Indian
mutiny ot 1XS7-58, in which Sepoy regiments rebelled unsuc-
cessfully against their British officers. I w o years later, during
the Second O p i u m Wat. Beato photographed the swollen
remains ot C h i n e s e defenders w h o had died during a British
assault on their fortress.
T o the Western v i e w e r s o f Reams images, it made a differ-
ence that the dead w e r e V ; IT i s their a-mains were not accord-
ed the reverence that W i M c m e r s reserved for white corpses.
But there was n o escape tor \ - . 1. - »king at other A i n e r -
i, i . i*r.mU-d dead acros ; i - > o . i k e d field o f G c m s h u r g .
New-paper editor- i-ould cushion t h e pictures w i t h soothing
phrases, rolling out conventional sentiments about the gal-
lantrv and u ' i l i t y o f those w h o fall
battle; the pictures
in
resist the conso. t i o u s i>' wartime pieties W h a t fastens your
eye t o the page is n o t the n o b i l i t v of t h e scene but its
wretchedness. These are plainly men w h o have fallen in the
raw postures o f death, mouths open.
O l i v e r Wendell 1 loliues, the American physician and man
>>f letters, wrote frequently about photographs 1 lolines also
knew the scenes o f war firsthand, having searched tor his
wounded son on the battlefield o f Antietam. an indecisive
engagement that was the bloodiest clash o f the war. Later,
H o l m e s left a m o v i n g record o f his first encounter w i t h
Alexander Gardner's photographs from the same site:
"It was MI nearly like visiting the battlefield to look over
these Views, that all of the emotions excited by the actual sight
o f the stained and sordid scene, strewn with rags and wrecks,
came back to us. and we buried them in the recesses o f our
cabinet as w e would have buried the mutilated remains o f the
tlead they too vividly represented."
In 18(rfi a number o f C i v i l W a r pictures were collected in
two important books, the first examples o f photographers
resorting to books as a way to organize their pictures into a his-
torical account. T h e first o f the books was Gardner's Photo-
graphic Sketch Rook ofthe War. a leathcrbound double volume
that assembled 1 0 0 pictures taken by various photographers.
A l l o f them are carefully credited under their o w n names.
Barnard's Photographic Views of'Sherman's Camfniigti is a more
curious and fascinating volume, an exercise in post-apocalvp-
tic landscape photography that follows the path of the U n i o n
General W i l l i a m T Sherman's merciless March to the Sea. O n
page after page, fire-gutted and shot-blasted buildings are sil-
houetted against a white sky.
O n l y a wealthv few Were likelv to have seen deluxe volumes
like Gardner's, to say nothing o f Barnard's, which sold for
S UH). But the vears just before the war also saw the rise of new
methods for the mass distribution o f inexpensive photographs.
By the lKMJs, photographic portraits ot the famous and infa-
mous became available in a cheap format called the carte Je vis-
ile, after the French term tor a visitor's calling card. Measuring
about 3 V j by 2 h inches, carte i/e visitc portraits o f victorious
x
generals, fashionable w o m e n and rhc latest opera tenors proved
enormouslv p'pular, becoming a crucial carlv step in the cre-
ation o f the m o d e m celebrity culture. T h e soprano Jenny l a n d
and the femme tatale l.ola Monte/ owed much o f their fame
to the carte tie visile in the same w a y that Madonna made her
mark on MTV. In the aftermath o f the firing o n Tort Sumter.
carte de visile portraits o f Major Robert Anderson, a U n i o n
hero o f the engagement, sold at the rate o f 1.1HX) a day.
A n o t h e r form ot image m a k i n g — t h e three-dimensional
stereo-view picture—had also gained popularity in time to
become a key format tor bringing scenes o f the war BO ordinary
households. T o produce a stereo n e w , a camera with two lens-
es was used to take simultaneous pictures o f the same subject
trom two slightly different angles. Hie nearly identical print*
were held side by side in a small cardboard trame, w h i c h w a s
inserted into a stereo viewer that resembled a pair ol" b i n o c u -
lars. In the s e c o n d h a l t ' o f t h e l'Vth century, stereo viewer
e q u i p m e n t was nearly a s c o m m o n a household item as the
VCR is today. By t h e late 1 8 5 0 s , t h e L o n d o n Stereoscopic
Com|uny, one ot the world's largest, had sold 50O.000 viewer*
and could otter c u s t o m e r s an inventory o f 1 0 0 . 0 0 0 picture*. B y
the last decade o f t h e century; millions ot stereograph* were
being produced e a c h year, they were still being turned out as
late a s W o r l d W a r I. Atter t h e Civil W a r , new* event* c o n t i n -
ued to be a favorite topic. S c e n e s of the C h i c a g o fire, the
J o h n s t o w n tlixnl and t h e wreckage o f t h e battleship Maine
were all available a * stereographs.
*I*he o t h e r c h i e f subject tor stereo views wa* faraway places,
one ot photography's first i m p o r t a n t subjects. In N o v e m b e r
18.V*. just |0 m o n t h s after Daguerre's invention ol p h o t o g r a -
phy wa* a n n o u n c e d , a Paris o p t i c i a n n a m e d N . M . P . L c r e -
bours c o m m i s s i o n e d t w o fellow Frenchmen to make
daguerre"»t\|K> in F.gvpt. It was a natural destination lor early
photographers, and not only because t h e S p h i n x , winch had
not moved tor 4 . 5 0 0 years, could b e c o u n t e d on t o h o l d its
breath and sit still tor t h e c a m e r a . T h e I**th c e n t u r y imperial
expansion of the Kuropean powers fed a n e n o r m o u s popular
appetite tor depictions ot foreign lands. In part to compensate
tor the loss ot its A m e r i c a n colonies. Britain moved to consol-
idate it* hold u|>«HI India and t o seize new territories in Africa.
In the F r a m e o f Na|>oIcon I I I . w h o ruled from 1 8 4 8 t o 1 8 7 0 .
the national imagination was tired by t h e F m p c r o r ' s preten-
sion* t o e m p i r e . P i c ISoOs saw the F r c i i t h e m b a r k o n a j o i n t
expedition with B r i t a i n against C h i n a , establish a n ill-fated
o u t p o s t in M e x i c o and seize S a i g o n , s e t t i n g t h e stage for
another war in a n o t h e r century.
T h r o u g h o u t the 1 8 5 0 s in particular, the lands around the
M e d i t e r r a n e a n b e c a m e a vast p h o t o opportunity. W i t h the
French and British increasingly comparing themselves to the
great empires ot the past, monuments o f autiquitv gained sjvcial
interest tin both nations. S o much the better i f the m o n u m e n t *
were located in lands that had actually fallen under their domi-
nation. In F.gvjit. tor instance, the French entrepreneur-diplomat
Ferdinand tie Lessen* gained the concession t « * tin* Suez C a n a l
in t h e m i d - 1 8 5 ( k , w h i c h in t u r n l e d B r i t a i n t o step u p its o w n
interference in Kgyptian affairs. I 'ruler such circumstance*, pi,
tures o f the I V r a m i d * were not just exotu n e w s hut also inven-
tories of in rial plunder, a m e a n s by w h i c h t h e past was
annexed to the self-regard o f the present.
A * the Industrial Revolution n>ok root in Britain, France
and ( i c r m a n v , a new kind of landscajx' w a s springing up at
h o m e : the brittle geometry o f the m a c h i n e m a d e world, l ' h o
tographs that showed the diagonals ol an iron truss o r the
plunging lines ot a new bridge were themselves a kind o f news,
b r i n g i n g word ol the spreading d o m i n i o n of manufacturing.
S o m e ot t h e m o s t m e m o r a b l e pictures of the Indiistnal Age
were p r o d u c e d In a \oung E n g l i s h p h o t o g r a p h e r , R o b e r t
I lowlctt. E a r l y in 1 8 5 8 , t h e Illustrated Times published nine
engravings based o n 11 owlet t * photographs of t h e docksidc
c o n s t r u c t i o n o t /u*rM/A*i«—later r e n a m e d Great Eastern—
which in its time wimtd IK- the largest steamship in the w< >rld.
Despite t h e British preference for romantic views of t h a t c h e d
cottages and m i n e d a b b e y s . I lowlctt recognized in t h e brute
silhouettes ot industrialism the outlines ot a new aesthetic,
one based o n haul tortus and angular lines ot force. It was a
new kind ot beauty that was b e i n g discovered by a n u m b e r ot
British and French p h o t o g r a p h e r s . E x a m i n i n g its possibilities
would b e c o m e o n e o f photography's c h i e f preoccupations in
t h e next century, but I lowlctt did not live t o proceed further
upon his own intuitions. H e died not long after t h e pictures
were published a victim, s o m e argued, o t the cliemical tunics
lie inhaled in h i * work.
A m e r i c a n p h o t o g r a p h e r s had a n o t h e r n e w landscape t o
c o n t e n d with. A l t e r the Civil W a r . they found their next great
subject in the natural formations o f the W e s t . S o m e joined t h e
geological surveys dispatched by C o n g r e s s to explore the new
territories Easterners were poised t o occupy. C ) t h c r * were sent
W e s t by t h e railway c o m p a n i e s that were laying t h e transcon-
tinental lines, the nation's great postwar e c o n o m i c undertaking.
M a i n o f t h e m were t h e s a m e photographers w h o had covered
the war. It had a c c u s t o m e d t h e m to the physical d i s c o m f o r t s
that were in store l o r any traveler W e s t , and taught t h e m I K I W
to take picture* under difficult conditions—which is what they
tound in such places as Nevada, where the former Brady pho-
tographer O ' S u l h v a n nearly d r o w n e d while navigating the
rapids o f the T n i c k c c River. A s early as 186°*, engraving* made
from O'Sullivan's Nevada pictures appealed in //ari\r\ HW£-
!\; w h i c h later supplied an outlet tor the w o r k o f a n o t h e r
important W e s t e r n p h o t o g r a p h e r . W i l l i a m H e n r y J a c k s o n .
W h a t t h e W e s t e r n p h o t o g r a p h e r - d e p u t e d was not just
scenery but o n c e again UCSVB t k f e i g s of t h e young nation's
vastness, its inhuman scale, its e c o n o m i c potential and it* hard
physical challenges. W h a t thev had also discovered was a new
p s u h o l o ^ u a l icrntorv. a screen upon which Easterners could
project their fantasies of a tresh lite, a place that could be sub-
lime or forbidding or b o t h at o n e t u n c . In O'Sullivan's picture
o f I V r a m i d L a k e in Nevada, t h e water is a ghostly tank with
three cones ol forbidding rock. T h e C a r s o n Desert sand dunes
arc an i m m e n s e v a c a n c y t h a t c o u l d be the stage set tor a
S a m u e l B e c k e t t play. It's a fugitive's dream o f paradise a J e a n
slate waiting l o r history to be written across it.
After the Great Fire of Hamburg

The tiaip»crrort*i<c method perimtti-d ^rcat detail, hut

it produced one-of-a-kind inures rrut could not he
used (it make multiple ptmtv Siel/ncr** daguerreotype
new* ot the ashc* and rum <»| his lutm town. .r.<.
tltc first cimrrj image* o| J , i . ••• wrrr not
widely seen

The open door

I' illuim Henry box l.ii' '

TiUNir". .jlotv-pc process ctiul,! , ,| to make

prints, hut ir^ soft texture* lent themselves more to
pocne sceni-t this, taken at Ins estate, than to the
recording ol dailv events.
Aerial view of Paris Nad

I • M l tlic wet -plate negative that finally made ir possible to create truly detailed
pictures that -i-ild also be reproduced as prints, Though the equipment wis heavy
and the pnxvss ol preparing and developing me plate unwicLii. determined pho-
tographers like Nadar, who took this shot trom a balWm hovenng over the eiry,
lost no time in exploring the heights to which the new method could take them.
Mill fire In Oswego, New York

A slightly d a m a g e d house. Johnstown,

From it* earliest da\s. the t j m e r j MM rnrtTrd out to
Pennsylvania
record the -.ri <<i d; ters that liter became a Maple
George Barker, ISS9
of the iNiislr.ilcd |". K ni.ml's daguerreotype of"a
burning mill cu*-:- n • : rhat was hand tinted The looming quality ot the three-dimensional
tn suggest the intemx ! • flame*. During stereograph was perieetlv suited M dramatizing
t h e C m l WH;Banwid docunvnted the «wath of catastrophes, like this scene from the aftermath o f
devastation ait through il» - utctal the Johnstown Flood. Oliver Wendell Holme, the
Sin in .,n* March to the S..i American oi letters, was so enthusiastic about
the potential of the stereograph as an educational
tool toi every household that he invented .• more
.irtordnble viewer.
S t r a n d e d in t h e Niagara River Piatt DA 1853

A n e-arlv example o f I picture showing a person trapped in terrible circumstance*,

a subject thai was to become central to photojournalism in later years.
 Northern t r o o p s e n c a m p e d n e a r Washington
I'hoicgtiipfvr unknown, t#6l

The long exposure rimes requited bv 19th centurv

eainei.iv nude static formation shots ,• staple of war
coverage. This picture of the Vermont Brigade is a
memento ot a unit that lost 213 enlisted men and
officen in battle and 12S to disease.

Rebel Soldiers in Richmond

PhttrogTiipber unknown, /An/

Confederate righting men at the beginning of the

Civil War just before the Battle of Bull Run. Southern
hopes for an ea*y secession were still high.
Northern General George B. Mcl'lellan had cannon shot, mortars,
nllcs and carriages collected at Cm- Point, Virginia, lot transport toward
Richmond by the ships seen in the background.

The 74th New York Infantry at drill

PbciofTaphf unknown, ISfiJ

T h e C M Wat depicted in old phott •graph* i s seen

largely thnugh \«wthcm eyes, it feature* Union
-•Liters and marks tlicir triumph* Mm! of the
pn fines wen- taken bv photngrjphcrs ana. hed to
units ol the I 'nion It net's
A s h a r p s h o o t e r ' s last h o m e — o r is it?
Alexander (iardner, /.Vnf

In this case, it isn't*, the corpse Wtt moved .mil

repositioned hy <Iardner to make rhe image known as
"Hftnic of a rebel sharpshooter" (sec page 14).

A h a r v e s t of d e a t h , Gettysburg
Timothy O'Su/lnim, /A'r\T

O'Sullivan's unflinching display ol the battlefield

dead brought a new candiduess to the depiction of
American warfare.
 The a f t e r m a t h of w a r in C h a r l e s t o n
AtMbuledIt .\fat*vu H'adw /.VftS"

Ruins of Richmond
Bv the time the war lud dragged In Hs hloodv
Alexander Gardner, 1865
conclusion. Budv . m d hi- camera operators had
Thr j.igged silhouette of a gutted flour mill otters J pmdiKed more tlun 7,(100 mag<
preview of the bomb bla-tcd cities of the 20th eenrury.

M m T T T
11 i 11 *
I I PM<
The Pyramids ol Dahshur
AV./1.M Frith. 1858

Frith worked out o f a mcfaer carriage covered

hv a Urge canvas sail that served as both his
darkroom and hi- sleeping quarters. The
Egyptians whispered that the mysterious
enclosure also housed his harem.

The IevHithiin under c o n s t r u c t i o n

Rtfrft flowJcrt.i. 1857

T h e completion of the giant steamship—at the

time, tl»e wodd's largest— was an event tor the
Bntish. turthet . -:.ti: v i.i- . -i. o| their global
ECOIIIHTIIV pre-eminence.
U n i o n Bay. P a n a m a , a t high tide

Though construction ot the canal did nor begin until 1904. American fascination
with Panama grew markedly after the late 1840>. when settler* heading West tor
Oregon and the goldlields •• California nude the i*thmu< a popular transit point.

P a s s a g e d e s Echelles, the second

a s c e n t of Mont Blanc
Isjuit -Auj>uste ami Augwie-Rouilit Bistort, W62

The Hisson bn it tiers nude photography in

the French Alps one of their specialties.
(JUss-platc negatives rhat wrre U*h fragile
and hcaw made tlic task ettrrtnelv dithVult
In the o r * of their COMMONanev the
Hi-- brothers' mountain views had a
political significance—thev celebrated
FraiK-e's au|ui*ition of W e and Sawn- from
the Kingdom ol Sardinia, which brought
Moot BtvK onto l-'rench territory.
Meeting of the rails. Promontory, Utah
AndmeJ, HtastB, istv

Russell's famous picture of the linking ot the eastward and

westward rail line* records nut onlv a key development m
American expansion West hut also an early example ot a media
event. Telegraph-key operators transmitted the n e w COM to
coast as soon as the golden spike was driven to mark the spot.

Sand Dunes, C a r s o n Desert

Ttmoth\ ()'Su//k\in. Itit>7

On an expedition through Nevada. O'SuIlivaii paused to record

the wagon that held his equipment and darkroom as he nirncd
hack from the forbidding wasteland.
Falls of t h e Yosemlte . mi W

Todav it is almost impossible to imagine the impact ot the tir»t photographic images of the
American W o t . Thev shoved Easterner* J world jmt hevond tlieirv arrange, vasr, maje%n.
II: GLOBAL NEWS 1880-1920
T
his photography is not a profession," stormed K i n g
Ferdinand o f Bulgaria during the 1 9 1 3 Balkan W a r .
" I t is a disease!" Like a war-horse beset by stinging
insects, the B a l k a n autocrat was outraged t o d i s -
cover that his military campaign was intcsted with
a vexing breed o t newsmen: mobile, cynical, often
u n c o n t r o l l a b l e , reporting b a c k to masters w h o s e
interest in the fray was limited to its capacity t o fas-
c i n a t e — o r i n s t r u c t — h u g e reading audiences with its i m a g e s .
T h e images themselves caused m o s t ot the unease. I laH a
century before, heavilv caparisoned picture takers like R o g e r
Kenton and M a t h e w Brady were forced by t h e limitations ol
their e q u i p m e n t t o focus o n t h e landscape o f war rather t h a n
the action itself I K'pictions o f battle were sanitized by distance
and t i m e , leaving the viewing public outside t h e process ol
war itself. The n e w s m e n o f t h e new century, In c o m p a r i s o n ,
left m o s t ot t h o s e c o n s t r a i n t s b e h i n d . I h e i r e q u i p m e n t —
i n c r e a s i n g l y liberated f r o m bulky tripods and lengthy e x p o -
sure times—allowed t h e m t o g o virtually anywhere ,i soldier
could go. W i t h their newfound technological freedom, puO*
tographers tried t o look ujxtn t h e h u m a n face ol w a r tense,
Moody, a n g u i s h e d and unexalted.
T h e development ot halftone printing made those images,
as they had never been before, directly accessible to the public.
Instinctively, Ferdinand and the o t h e r military statesmen of
Europe k n e w that s o m e t h i n g subversive was afoot. The public
was e x t e n d i n g its visual reach i n t o military statecraft, with
unpredictable c o n s e q u e n c e s . In t h e new era o| the p i c t u r e
press, photojournalism was truly born. " I t is the photographer
that writes history these d a y s , " exulted Collin's magazine in
1 9 1 3 . " T h e journalist only labels the c h a r a c t e r s . "
In the era o f mass photography, the status o f t h e journalist-
photographer underwent a c o m p l e x c h a n g e . H e — o r she—was
transformed from an independent petit bourgeois who sold the
Output ol hi*- own s m d i o (in t h e t o r m , tor example, o t carta tie
viiitc) i n t o a m o r e p r o l e t a r i a n hired h a n d , w h o s e success
depended on t h e extent t o which his etVorts were broadcast by
press proprietors. T h e e c o n o m y o f p h o t o j o u r n a l i s m Was a
dependent o n e , which situated t h e photographer in a nest o l
e c o n o m i c relationships while treeing h i m up lor the visual
task at h a n d . T h a t contradictory nature eventually gave photo-
Aerfal exposition at the Grand Palais. Paris / •
journalism a strong populist streak that would color its nature
tor decades t o c o m e .
All those developments t o o k years t o accomplish, and could
begin only with a fundamental c h a n g e in the picture taking
process. S o m e t h i n g akin to an industrial revolution in p h o t o g -
raphy blossomed around 1881). piggybacking 0 0 advances in
industrial chemistry. By 1 8 7 3 a variety' o f inventors had found
ways t o supersede t h e old w e t - p l a t e system o t sensitizing a
surface for photographic exjwisure. T h e method involved creat-
ing a silver b r o m i d e gelatin that could b e spread thinly on
glass, then dried. In 1883 a method was found to substitute cel-
luloid for glass, t h o u g h the brittle glass plates remained popu-
lar tor decades. *l*he c h a n g e in pnieess meant, in effect, that the
photographer n o longer had to carry his darkroom o n his back
o r in a cart when h e took pictures, as m o s t ot America's pio-
neering landscape photographers had been lorced t o d o . T h e
dry-plate technique also greatly speeded up t h e act of taking
pictures. W i t h t h e contortions o f wet-plate exposure, p h o t o g -
raphers often fiHik only two or three pictures a dav. W i t h the
new drv plates, the n u m b e r was limited more by h o w m a n y ot
tin* hulkv plates the photographer could carry—but that still
multiplied the n u m b e r o f images b y 10. Dry plates also fixed
images much faster than the wet process: exposure times began
l o drop into fractious o f a second. B o t h those developments
pulled the photographer away from t h e painterly conventions
that had dominated the picture faking of his predecessors.
Mongside the p h o t o c h e m i c a l revolution c a m e a prolifera-
tion in the m e c h a n i c s of photography. D o z e n s , perhaps hun
dredsi o f ditferent trpGS o f cameras were b e i n g invented, large
and -mall (including so-called detective cameras that could
peep through a b u t t o n h o l e ) , round or square, fixed o n tripods
o t hand held. B o t h the single lens and d o u b l e - l e n s reflex sys-
tems, the mainstay o f c o n t e m p o r a r y picture taking, were
invented b e f o r e t h e turn o f t h e century. By 1891 Thomas
R u d o l f Dallmcver produced the first telephoto lens.
N o single individual had a greater eltect on the p h o t o revo-
lution t h a n G e o r g e E a s t m a n , a m i l d - m a n n e r e d junior b o o k -
keeper at a bank in Rochester, N e w York. In 1 8 7 7 he b e c a m e
absorbed with the possibilities o f photography and opened a
dry-plate business based, essentially, o n t-'uropcan processes.
I le quickly seized on the idea o f applying photosensitive emul-
sions to celluloid film, and by 1 8 8 s w a s . dfering rolled film for
sale. Initially it did not fare well. Eastman's essential genius,
H O W E V E R , was to REALIZE t l u r ihe FUTURE O F photography lay with
THE mass audience. *l*li.it I R PR.klucing camera* and image -
-ensitive prtklucts that simplified T H E V E X I N G technological COm-
plexitv o f picture takn ^SS K.i^tni.n• produced his popu-
lar inasterwoiK. tin k. »i H A N D - H E L D W T M K I E N camera with a
simple lens A N D a roll o f film wrapped around a detachable
spool holder. A S T H E FILM was advanced, it took up to HX) expo-
sures. W H E N TLU P . T U N TAKER was finished, he shipped the
entire D E V I C E B A * K T O Kastman's factory, where the film was
developed A N D T H E camera reloaded, then returned
K A S T M A N ' s radical simplification ol photography did not
immediately atiect the professional classes ol picture lakers—it
W A S originally offered to "Holiday-makers. Tourists. Cyclists,
and Ladies," among others. Professionals and serious picture
takers preferred the quality o f the dry-GLASS plates lor detail, and
relied on more sophisticated reflex cameras like the (iratlcx.
Nonetheless. Kastman's breakthrough had two tar-reaching
effects. ' P i e first was t o broaden imtiH-asiirahh the ranks o f
pBOple w h o would cventuallv become professionals. I LC D E E P -
ened the American talent pool. T l i c other, A N D jtcrhaps m o a "
profound etieel, was to increase the number ot | • « w h o
looked ai and handled pictures and thus became photo literate.
It w a s n o coincidence that the I 'nited States thereatter became
ONE ot the wcllsprings ot photographic m a s s communications.
Throughout those innovative years, the entire A m e r i c a n
Republic, engrossed in civilizing its great internal spaces, was in
a fever to know about itself and about the rest ot the world.
Between 1NK0 A N D 1 8 ° 0 . the number ot I I.S. newspapers grew
taster than ever bef«»rc OR since: two new publications a dai for
a decade. 'Hie number o f newspaper subscribers increased by
3 7 million people (ciHiipared with fewer than 11 million in the
previous decade), and then grew by another ^7 million Ivrween
1890ind l°tM)/n» great Joseph Pulitzer. W i l l i a m Randolph
c
Hearst ami the other American press lords c i s t their shad-
ows—and their views—across the journalistic l a n d s c a p e
T h e weltei o f ncws|>a|>ers was slow to absorb ihe final inno-
vation that W E D D E D photography t o ink: halftone reproduction.
Joseph L'ulii/er bought the N E W York It'orWxn IKS.?, bill it was
am it I H I D E . A D E 01 more Inrlore tlie newspajvr I x v a m e Immc to
portography P i c N E W York Tribune k\\A not puNish a lialftinte
picnirc until 1X47. I N 1 8 9 8 t h e celebrated sinking O F the bat
tleship Maine W A S A N N O U N C E D , first with line drawings that
simulated photographs. A FULL W E E K passed before a halftone
was published I he first picture NCW-pa|X'r m Britain,
• Y Mirror, made IT* D E B U T O N January 7, 1 9 0 4 , and its
ountcrpart, the N E W Y O R K IllustratedIhidy X'etvs,
until 1919. T h e E V E R cautious N E W York Times
di KXCgMplu unti] W O R L D W A R I, and then only
as a • '-inent.
T i m e was a major constraint. However many breakthroughs
had taken place in the business o f picture taking, words still
traveled taster than images in the late 19th ccnlurv. { H i e the-
oretical HRCAKIHTIMIGHS that led to the electmnic transmission o f
pictures wen- made in 1 9 0 7 , at the University o f M u n i c h . )
T h e process o f producing halftone images I M I the same [ H I N T -
ed page as tyjx- was also arduous and complicated.
T b u a the logical venue tor photojournalism was less the
daily newspapers than the elaborate illustrated magazines that
alrc.nh used line drawings. In 1 8 8 4 the /.cipher Ulustrierte
7.eitiing published the first halftone illustration in a European
publication. O t t o m a r A n s c h u t z ' s image ot ( J e r m a n armv
maneuvers. In |SXo Paul Nadar, son o f the tlambovant pho-
tographer impresario Felix Nadar, produced what could be
called tl»e first photo interview in the history o f journalism,
taking pictures o l his tatlier in conversation with the distin-
guished French chemist M i c h e l - E u g e n e Chevrvul. in honor o f
Chevrcul's UXhh birthday. "I"he pictures were run with the
interview in 1.1-Journal lllustree. Soon Ciustave Eiffel ami I amis
Pasteur, a m o n g others, received the same treatment.
By the IHXOs. the illustratcd-picture niaga/iue format had
crept across m u c h o f the industrialized world. In Britain the
Illustrated I'^ndon X,» vied with publications such Black
and While. Graphic and Sphere. In the United Stales maga-
zines like the H/uttrat, J American battled with I lilies Illus-
trated Weekly, while perilklicals that initially shunned p h o -
tographs in favor ol line drawings—Harper's Weekly. Scrihner's
Century had converted to rhe new technology O t h e r maga-
zines, like Mwitey*. McClure'*, Cosmopolitan and above all Col-
lier's, turned t o photography as a means ot boosting circulation.
In 1 8 X 9 , in an innovation that would change American ado-
lescence fiwevcr, the National Geographic magazine JMIBLISHCD its
first photograph ot a bare-breasted Zulu bride.
T h e p h o t o magazines were eclectic in format ami omnivo-
rous in scope. Typical ot the breed was l.orillard Spencer's
Illustrated American, founded in 1X90 and dedicated t o the
"picmrcstjue chronicling ot contemporaneous history" Its pho-
tographers took pictures ol vachting regattas, the 1 8 9 7 inau-
guration ot W i l l i a m M c k i n l e y , sporting events and train
wrecks. T h e Illustrated American anil others like IT introduced
a new category o f employee, the staff photographer, and also
made use o f self-employed free-lancers. A s early as I 8 8 h
Frances Benjamin Johnston, one ot the nk*si important ot the
professional photoHHirnahsts. was able t o declare that she was
"making a business ot photographic UlustrahiHi and the wilting
o f descriptive articles tor magazines, illustrated weeklies and
newspapers." W a s h i n g t o n - b a s e d , J o h n s t o n Ixrcamc so famous
for her pictures o f political celebrities that she was known as
the photogtaphcr ol the "American court."
THK I I . I . r S T R A T E P AM1.KK AN.
W r e c k o f t h e b a t t l e s h i p Maine !' n tS9H

A l the market tor newspaper and m a g a / m c photographs Slowly, picture journalism assembled the means t o take on
grew, n e w supplier-, Ix-gan t o till t h e need. In I8*>4 the world's its nnist difficult challenge: coverage ofvv.tr. The imperial con-
tirst press ageiK'v set up shop in L o n d o n as the Illustrated flicts ot the late 19th century were usually carried on in incon-
Journals Pluitographic Supply ConipAOK Located on Ludgale venient places: Afghanistan, the Sudan, South Africa. C a m e r a
Mill, the linn promised 2 4 - h o u r sen-ice tor the delivery o f equipment had improved greatly since the days o f the A m e r -
a n y photo m stink. W i t h i n five years, it faced competition ican Civil W a r . Nevertheless, lugging b e a u glass plates and
from the Illustrated Press Bureau. T h e first U . S . photograph awkward cameras alongside expeditionary forces remained a
ic agency t o follow suit was Underwood cK Underwood, estab- considerable exercise in fortitude and logistics. T h e r e was still
lished in 1 8 9 6 . It would IK- a long time, however, before photo n o question o l sending back images to complement more
agencies and cooperatives would offer the combination of o n - immediate press reports. The rise o f amateur photography did
the-spot resources and immediacy that news text services like give Victorian photojournalists an opportunity tor scavenging
the Associated Press (established 1 8 4 8 ) and United Press that had not existed: a talented amateur on the scene might
Intern iiioiul ( 1 9 0 7 ) could provide t o member newspapers. take a picture lor himself, from which he could be parted by
A.P n a picture service in 1 9 2 " and started transmission otters o f money o r shared glory, or simply by guile (which is
by- xv. "> »s |. nr decades afterward, many small newspa- HOW some ot the most striking press images ol wartime in the
pers con 1
. 1 • < receive photos by mail. 1 8 9 0 s found their way into print).
 T h e expressive power ol" early wartime photography was
on display in the lengthy and frustrating Boer W a r ot 1S99 to
1902. Some ot the most compelling images ot the conflict
wett taken by a G e r m a n photographer, Reinhold T h i e l e . w h o
was commissioned to cover the war for the L o n d o n Graphic.
Thiele used a glass-plate camera equipped w i t h the recently
invented Dallmeyer telephoto lens as he accompanied British
troops o n the relief o f Kimbcrlev. H i s dramatic photos o f a
naval artillery bombardment prior to a December 1S99 assault
on a B o e r s t r o n g h o l d captured the h i g h tension ot the
m o m e n t — b u t there was a problem. T h e British attack was a
disaster. N o mention ot that fact appeared in the Graphic when
Thick's photos finally ran in March of the following year.
Military incompetence was plentiful in the dreary Boer
conflict, and Thiele and other photographers w h o covered it
had numerous opportunities to record British defeats: at Spion
K o p 1 lill, on the retreat from Ladysmith, at C o l c n s n . T o them
the important thing was the situation, rather than the outcome;
the camera was there, capturing the teartul expressions.
sliiiiijK'd postures and frantic activity o f men in actual condi-
tions o f combat (though the cumbersome equipment still kept
actual fighting out o f the picture frame). B y the time ot the
Boer W a r , the press photo corps was beginning to descend on
conflict like their print kin, in growing numbers and under the
pressure ot competition. I he era of the global photojournalist
was dawning, in the persons o f J o h n C . H e m m e n t . Richard
I larding Davis, James Burton, W i l l i a m D i n w i d d i e , George
L y n c h and, above .ill, James I lare.
N o one established" the photojournalistic archetype more
firmly than Hare: cocky, tearless, peripatetic, "sublimely i m p u
dent," as one contemporary put it, and obsessed with discover-
ing the dramatic moment in every photograph. T h e son o f a
successful Yorkshire camera manufacturer, I lare was an early
proponent ot the small, hand-held instruments that his lather
did not make. The t w o soon parted ways. 1 lare began a free
lance career in Britain, largely in sports photography, then emi-
grated to the United States in 1889. H e arrived just as the
illustrated weeklies were making their plunge into photography,
Hare became the star free-lancer o f the Illustrated .-Imcruai:,
then presented himself at the doors ot Collier's Weekly.
Hare arrived at a critical time, just as Robert C oilier, son ot
the publishing titan, began to turn the somnolent literary
paper into a news-picture magazine. Two months after Hare
was hired, the Spanish American W a r got under w a y — a war
that pre>s baron W i l l i a m Randolph I learst had done his best
to create. Hare staged his own invasion o f Cuba in a leaky boat,
and teamed up w i t h the ragtag army of insurgent M a x i m o
G o m e z . H a n : ran w i t h assaulting American troops in the bat-
tles at San Juan ami Kettle hills. 1 lis reputation as a fearless,
even reckless, news photographer was sealed w h e n Collier's
ran pages o f his w o r k in a special Cuba commemorative n u m -
ber. Photojournalism showed that it could pay its o w n way: in
the wake ot the much ballvhooed C u b a n campaign, the mag-
azine's circulation quintupled, to 2-»0,000 in 1900.
B y 1903 Collier's proclaimed that "whenever there is an
armv in the field and the clash ot arms and bullets and the
thousand tragedies ot war, there, too. is a m a n from Collier's."
A s often as not, the man was I hire. I le was one ot a handful of
photo correspondents w h o covered Japanese landings in Korea
during the 1904 Russo-Japanese War. a conflict that, Richard
Harding Davis noted laconically, Hare "made famous." 1 le
covered the San Francisco earthquake, and during the Mexican
Revolution rode into Ciudad Juarez w i t h Pancho Villa. In
1914 lie broke with Collier's when the magazine w o u l d not
send h i m to cover the Great W a r in Europe. I lare signed o n
w i t h Leslie's Weekly for the job.
O n c e in Europe, he discovered what the growing interna-
tional photo corps was finding out: Allied military leaders, par-
ticularly the French, were n o w acutely sensitive to the impact o f
photography o n the home front. T h e y allowed virtually no bat-
tlefield photographs to be taken, and even fewer to be printed.
T h e frustrated 1 lare. ever in search ot action, gravitated to the
less strategic Balkan front. After the armistice, 1 lare chased
the scent o f gunpowder once m o r e — w h e n the Soviet U n i o n
and Poland clashed—then settled into a long retirement.
By that time, the nature o f news photography had changed
again. The picture magazines had gone into decline with the
advent o f the war. T h e dais o f the great free lancer- w e r e - for
a time—over. But the notion o f photos as inseparable from
news had been deeply imbedded in the Western psyche. Alter
the war. nearly every major newspaper had its start'photogra-
pher—even the N e w York Times, starting in 1922. N e w s - p i c -
ture taking had come to h a w a sense o f immediacy that rivaled
print, though its last steps toward instantanciry—clcctronic
traiismission were still ahead. T h e shock waves of the Bol-
shevik R e v o l u t i o n were rippling around the w o r l d , a n d
h u m a n i t y was lurching i n the direction o f u n d r e a m e d - o f
achievements and brutalities. A s it did, the nerve endings o f
mass Society were attuned fo the news in more dimensions
than ever before.
The French scientist Chevreul giving an interview I'./.JXJ.r. <'.»'/"-

These picture! represent the first photo interview session. As the lOO-ycar-old chemist Jinl

phi isi 1
, hel- Ktigene Chcercul expounded on his |iersiin.i1 philosophy in the ic'ehraied
Rtf»un ph.-iMgr.iphcr Felix Nadir. Nadar'ssou quietly made x series o f candid picture*.
I Tic remarkable Johnston was one of the first women to make her living .is a
tree-I.iiii c pliM|..::r. \ <\ni ti>i :n.igj/ii>es and new-pjpcis. Much i >t her work wa»
concentrated on the lives ot laborers, including coal miners, ironworkers and the
women who struggled to make a living in the textile mills of New Kngland.

Smoke and flames after the San Francisco earthquake
/IrmUGtHlbe, 1906
Although his own photo snidio was in name*, Ccnthc saved his
camera and matte hi- lamous picture* ol" the great earthquake and
lire. I le later Bold them ro the San Francisco Ex imm,-r The
t Though Rons would go on to become chief engineer
enterprising (tenrhc had earlier taken a remarkable ;erie» ot'candid
photographs in the Chinatown district of San Francisco, scenes
he iud captured with a -mall camera conceited beneath his coat.
\
Q/fpouttftgpi
Steam-powered engine r a c e s to a fire
Harney Rca%, 1910
uf the Studcbaket war company and the inveiuor of
the Jeep, this student photograph remained one of his
proudest achievements. He took it in New 1 laven.
Connecticut, while working a summer joh lor a photo
agency that had -till him out to get a graduation
photo ol the son ot President William Howard Tift.
The s h o o t i n g o l New York C i t y ' s M a y o r William J . G a y n o r
William H'jrwjke. /Wf?

Warnrke. .• pliotogrjphrr lor tin- New York Kittling tt'o'1.1, had

been •• - ."u .f to tinrr the morning IcpartM ot the mayor tor a
European vacation Itwcad, he got tin* |»Khirc ot GiyinH bring
supported h\ aide-, alter he wa> *hot in the nr. k and back by a
disgruntled fornut u h einplowi The If<.•/./vplaslicd live picture
J C T O U I. H I I ctdumriv Though the reform-minded mayor lived
thrre more year*-, he never full* ir.ovcred hi* health
Mexican revolutionaries Francisco I.
Madero and Pancho Villa
famei Hatf. Vtll

lliit- wa* one of the first globe-tTottini;

photojounialists. a pioneer ol the notion t h a t
the camera could prove that an event had
actually taken place. A tew year« before he
recorded Madcro and Villa on their way to
accept the -.unender of Mexican gpVUnnKftt
forces, 1 late had taken a picture that proved
the Wright brother-.' plane could fly.

Street lighting In Juarez

The i ii in Mexico was one o| five

conflict I l*re covered as a war correspondent.

4 0
The f i r s t s a i l
Roland I I : RteJ, 1907

R e e d w a - at o n e t i m e . i n A s s o c i a t e d Pre*- - p h o t o g r a p h e r ,
1

lit tin* leur this picture w a i t a k e n , lie begun t u d e v o t e

m u c h o t h i * t i m e t u d o c u m e n t i n g I n d i a n f i l e , u.sin^
i n c o m e f r o m his M i n n e s o t a portrait s t u d i o t o finance
t r i p s a m o i i j - t h e local C h i p p e w a . T h o u g h h e c a m e t o
t h i n k o t h i m s e l t as a n artist r a t h e r t h a n a r e p o r t e r , h e
a l l o w e d h i s p h o t o s t o a p p e a r i n t h e National (Imgraphu
 Flag woven by m i l l w o r h e r s a t M a n c h e s t e r . New H a m p s h i r e

Htt'hin A MankaH. / V / r

W O R L D W . i r I • •U D OIL* A - P A T E O TLLAG W A V I N G i n A M E N T A ,

T H O U G H i t - d o u b t f u l T T U L A N V O N E E V E R W A V R D TLII** V E R S I O N O T O K !

C I L O R V . W H I C H W A S S ( I TCRT b v ' l s teet . U U L W E I G H E D 2 I N ' POUND-

M A R S H A L L ' * P I C T U R E j | * p r j r r d in T H E NationaJ (Uy^taphu. In 1 9 0 H

T H E iiiAgj/ine b e g a n T O R R H h c a v i h o n |4IO|I*gTapht t o ILLUSTRATE

IT* stories A B O U T T R A V E L a n d E V . P I O T A R . i o n , a l t l x m g h i t D I D N O T H U E
l u l l - T I M E *-TJ|Y P H O T O G R A P H E R - U N T I L T H E LYJJLK.

4 J
 A w o m e n ' s - s u f f r a g e p a r a d e In New York City
Pbottfrrnfyhf unknown, 191$

At the height of the campaign to gam the vote for women, more than 25,000 people
marched up Fifth Avenue to voice their support. Man. hep. rcpre*enting three -.rates that

iss: had granted women the vote appear in the forefront of this picture taken for United Pros*
International, the news agency that began distributing photographs eight years before.

in
mil
I

1r i m
•Ml
••I
• M r

F o r a g i n g l o r lood in t h e A n t a r c t i c
PhotOj>r,if>htr uninewn, 191$

Dog t e a m s o f t h e B r i t i s h e x p l o r e r S i r | > n e ' t

I lenn S l i a t k l c t o n - V J I I I I l o t e d i b l e s as h i s d i i p
EnJuran,. s i n k s i n tlie h a . k ^ r o i m d Shacklctou
d i e d d u r i n g hi-- l o u r t h s o u t h p o L r e x p e d i t i o n i n
1922 a n d w a s b u r i e d o n S o u t h ( G e o r g i a I s l a n d i n
the S o u t h A t l a n t i c . T h e pi» t u r c w a s m a d e tor t h e
I'.S p h o t o |HiblislunK u r i i i p a n i I ' n d e r w . n n i cc.
Undcrwooil, which Mwnrtimr* ioinmi-M-Hinl it-
o w n p i n it. ^ i apltcts t i t t r a v e l a b r o a d . T h e c i i c u l a t
format w a s c o m m o n in i i e w s p a j v i - and m a y a

/ines d u r i n g t h e lirst decade*, nt t h e c e n t u r y .

P a n o r a m i c view of P a s s c h e n d a e l e Ridge, Belgium
Photographer unkn&tvn, 1917

T h e public was unlikely tu find battlefield scenes

like this one in its newspapers during World War I
Military authorities had learned how much
photographs could sway public opinion; they kept
news photographers under tight control, making
it difficult for them to reach the batrlcficlds and
censoring what pictures thev were ahlc to take.
Manv of the most potent images of the lighting

0.
were not published until alter the war.

P r o - r e v o l u t i o n a r y s o l d i e r s during t h e M a r c h uprising in P e t r o g r a d
Photographer unknown, UnUeriioo,/ UnJovxtui, 1917

rV>-revolutionary soldiers drove anmnd Pctmgrad with red Hags fixed tu their
bayonets. The defectum o f the Pctntgrad garrison and other troops sympathetic
to insurgent? was critical to the success of the March uprising.
Burning public records in Petrograd
Photographer unknown. Underwood if
Vnderwotd. 1917

Western news photi>graphcr*. hunicd to

Ku"ii iti 1 ** 1 T to ,<fttr the overthrow ot*
tlic Czar and the events that were to bring
Lenin to power in October. T h U picture
was taken by a photographer for the firm
ot I 'nderwood cX Underwood, the photo
agency rhai had sent its operative* to many
of the hjnlcrlcld* of World W a r I.
The defense of Riga Photographer unknown. Underwood 13 Underwootf, 1915

When German lorees <>n land and sea began to menace Riga, the most important Russian port
on the Baltic,'.-..I women were musicied to dig trenches lot the outer delense ot the city.

In the trenches near Arras. France

Photcvrapher unknown. 19/ e

"IVhtn a/I is said and done, "wrote the British

poet Siegfried Savsoon, "the ttV UWJ nuiwlv
•r matter of holes andditihes." T h e muM
enduring images ol the lighting were the
vast trenche- that scarred the Ktetkh and
Belgian landscapes; they came to symbolize
the (utility ol the war 1 hindrcds of
thousands of lives on both sides were lost in
the Moody battles to shift the trench lines a
few feet in either direction.
Austrian Uhlans going into position
Photographer unknvwn, VnJervxoJ U (MmfW$tm

Work! War I was the la*t major conflict to *ee the use
o f mounted - •l.ln-i- like these, who appeared in a picture
i n the New York Tnhune. Suicidal charge* dueedy into
machine-pin tire in the carh vear* ol the war finally
convinced officer* on hi>th *idc* that the dav> ot the
gallant cavalrymen weic over.
 C h a r l i e Chaplin a n d Douglas F a i r b a n k s a t a L i b e r t y Loan rally
Photographer unkn&ixn, U.S. War Department, 19IS

'Che stars " t the silent screen w e r e recruited t o r t h e w a r t i m e effort.

C h a p l i n a n d F a i r b a n k s a d d r e s s a c r o w d in r h e tin.iThi.il district at*lower

Manhattan t " promote Libert* B o n d s , w h i e h helped pay lor the war.

A British o f f i c e r a d d r e s s i n g t h e t r o o p s
Photographer unknown, J91S

Hrigadiei ( leneial T . C . C a m p b e l l speaks l o h o m e n

at S a i n t - Q j i c n r i n C a n a l . A i s n c . F r a n c e .

4 '
1
Bombing by hand
XUix Pobfy. c. 1917

World War I MW the first use OT aerial bombing,

which, in the days M o r e the invention OT the
H O M B M G . h r , was an even M O R E inexact practice
than it can sometimes l>c today.

A m e r i c a n s o l d i e r s in b a t t l e
Pkotoj^mffvi untnviL'ii. 1918

I'.S. soldiers tire oft rounds from a 17-mm grin at a

German machine gun house inriveAigonnc forest in
France. Year* ot Trench righnng could nirn woodlands
into unearthly, blasted wastelands.
British artillerymen feed an 8-inch howitzer
Photographer unknown, 1917

World War I marked the first wide use of destructive

new weapons such as tank-, poison gas and the "big
guns." Giant artillery lobbed immense shells into the
tieiivhcs. accompanied In an ear-pien ing ihrick DtH
shattered the nerves ot the soldiers.

A s e a of shells at a British munitions factory

Hoi an- Nitho/h, 191 ft

The biggest ot the big guns fired shells like these,

mass-produced to meet the needs ol mass conflict.
The f u n e r a l of a m u r d e r e d l e a d e r of t h e Ku Klux Klan
Photographer unknown. Underwood t ? UOm t -'>Qd

The n e w stories of the 1920i icd I!K rising power of the KUn in live South and
Midwest.'Hie Invisible Em* • ii >\cA A gospel o f hate against black*. Jews and
Catholics, which it put ini i ' II ii*Ii nirtler .if ill intimidation.
1
The e x e c u t i o n of Ruth S n y d e r Tom //OTUW. 1928

The me of the photo-illustrated tabloid treated a generation of new* photographers who

would go to any length to get a picture, the more shocking the better. Howard strapped a
hidden camera tu hi* ankle to get this picture of a famous murderess at the moment of ht
death. "Hie New York Daily Nrvtt ran it under a screaming one-word headline: DEAD!
Ill: CONSCIENCE 1880-1920
m c r i c a n journalism in the last tkv.uk- ol the 1**ili
century was a cluttered licit! ol tabloid newspapers.
T h e y w e r e big, i n f l a m m a t o r y dailies, e a r n i n g a
heated mix o f scandal ami sensation under s h r i c k -
ing headlines, Yet socially concerned ph<»tojournal-
H ism was b o m in their pages—in part because t h e
slums that were i t s first subject lent themselves t o
lurid reporting and social crusading, t w o mainstays
o f the tabloid approach t o the news. It t o o k several year-, but
t h e power o f photography t o goad the h u m a n conscience was
eventually recognized by editors everywhere. *l*he m a n who
taught them was J a c o b Riis.
O n e e v e n i n g in 1SSK, readers o f a N e w Y o r k tabloid, the
Sun. turned to the news that "a mysterious party has lately
been startling the town o ' n i g h t s . S o m n o l e n t p o l i c e m e n o n
t h e street, d e n i z e n s o t t h e dives in their d e n s , t r a m p s and
b u m m e r s in their so-called lodgings, and all t h e people o t the
wild and wonderful variety of N e w York night lite have in
t h e i r turn marvelled at and Ixrcn frightened by the p h e n o m e -
n o n . W h a t they saw was t h r e e o r four figures in t h e g l o o m , a
ghostly tripod, some weird and uncanny movements, t h e
blinding flash, and then they heard t h e patter o f retreating
f o o t s t e p s a n d t h e mysterious visitors were g o n e b e f o r e they
could collect their scattered tin nights and try to find out what
it was all a b o u t . "
T h e third-person format was just a tease. The writer was
Riis, a Sun reporter who was describing himself and three c o l -
leagues. A f t e r years ot covering the police beat, Riis hit o n the
idea ot taking pictures around the slums ot the L o w e r F a s t
Side as a way t o expose t o t h e public t h e w r e t c h e d conditions
h e found there. It was a work! where immigrant families were
packed four to a room ami children slept < m sidewalk gratings.
Fatigue, tilth and disease were everywhere. R i i s had tried to
describe the place in his reporting, b u t the results didn't satis-
fy h i m . A i m i n g to s h o c k his readers and spur t h e m t o a c t i o n ,
h e l o o k e d t o p h o t o g r a p h y as a way t o l o d g e an i n d e l i b l e
impression i n the public m i n d . W i t h his pictures ot dark ten-
e m e n t s and sinister alleys, he would l»e Virgil, conducting the
middle class o n a l)antcst|iie tour o f hell.
O v e r the years Riis worked tor two o f New York's most cel-
ebrated dailies, the Tribune anil C h a r l e s Dana's Sun. H e had
Baxter Street Court / . j , A'/N,. /vs"
t h e t a b l o i d r e p o r t e r ' s t e m p e r a m e n t : a t o u g h - g u y view o f
human nature, an instinct tor a gripping story, a taste tor m e l o
d r a m a . Hut h e was g e n u i n e l y m o v e d and a n g e r e d by t h e
wretchedness o f the districts h e covered. I le was uninterested
in photography tor its own sake; h e cared lor it only insofar as
it could expose the squalid tenements and help eradicate I h e m .
It was Riis above all others w h o discovered what evennially
b e c a m e o n e of t h e most characteristic missions of the camera:
it timid 1H- l i m i t e d at misery. H e virtually invented w h a t m u c h
later c a m e t o h e called \\>ncerncd pliotography," a combination
ol linger pointing, hand wringing and fist shaking now accept-
ed as one ol the quintessential purposes o| p h o t o j o u r n a l i s m .
Riis hekl up his pictures o f the pttor at a m o m e n t w h e n
Americans were ready to see t h e m . Ivy the latter decades ot the
l^th century, the human cost o f the Industrial A g e was
b e c o m i n g impossible t o ignore. A t l e r the Civil W a r . industri-
alism b e c a m e the e n g i n e ot A m e r i c a n wealth. But even as it
drove t h e economy, it p o u n d e d fiercely o n the workers w h o
kept it running. Factories were foul and dangerous. W a g e s
were driven mercilessly downward. Depressions periodically
rattled the economy, erasing jobs that paid little in the best o t
t i m e s . I n an increasingly desperate a t m o s p h e r e , labor a n d c a p -
ital I.u ed I >tT a. r< ISS j h n c drawn in blood.
A t the same t i m e , millions o f i m m i g r a n t s spilled i n t o t h e
port ot N e w York. M a n y o f t h e m were packed straight-awav
i n t o t h e sutfivafing slums o t the L o w e r F a s t S i d e . 'Hie area
around MuH>erry Street that R i i s k n e w b e s t — p o l i c e h e a d -
q u a r t e r s w a s l o c a t e d t h e r e — h a d b e e n p r e s i d e d o v e r by
unscrupulous landlords since t h e tnid-lKOOs. But it did not
Ixrcome the patchwork ot bursting ghettos that Riis uncovered
until the 1S7(K and ' 8 0 s , when successive waves of Irish, < »er-
n u n s and Italians poured i n t o its narrow confines.
Riis learned to wander the t e e m i n g district in t h e hours
between two and tiKir in t h e morning, to catch it. as he liked to
say, " o f l i t s g u a r d . " W h e n H e a l t h I X - p a r t m e n t agents made
their inspections o t unsanitary dwellings. Rus a c c o m p a n i e d
t h e m . I le saw for h i m s e l f places where an entire f a n u h might
spent! t h e day rolling cigars in t h e i r tiny r o o m or where a
t h i n g infant could lay untended in a c o m e r . " W e used t o go in
the small hours ot the m o r n i n g into the worst t e n e m e n t s t o
count noses anil see it t h e law against overcrowding was vio
kited," h e later w r o t e . " T h e sights I s a w t h e r e gripped tin
heart until I tilt 1 must tell o f them, or I M U M , or n u n .mart hi '
 T h e s e were not sights that Rii- was seeing for the first
time. I le had arrived in the U . S from Denmark in 1 8 7 0 , just
as the American econorm toward the calami-
tous Panic o f 1 8 7 3 1
Riis remained unemployed, so
desperately pom ICC walked t r o m N e w York t o
Philadelphia o i remise o f finding work there, l i e later
spoke o f havl icd "the great army o f tramps, wandering
about the strci in the daytime with the one aim o f somehow
stilling the hunger that gnawed at my vitals, and fighting at
nighr with vagrant curs o r outcasts as miserable as myself for
the pn it* I b*O0 o f some sheltering ash-bin or door-way." I It-
knew what it was to sleep in the flophouses that police oper-
ated for the homeless, to pick his dinner from trash cans or to
beg daily at the kitchen door ot the city's most luxurious
restaurant. " L u n c h i n g at Delmonico's," he used t o call it.
After more than three years o f that lite. Riis managed to
secure work with a N e w York press association. Y e a n later, in
1 8 8 7 , he returned t o his old haunts, a reporter armed with a
camera. Because he knew nothing at first about photography,
he relied upon t w o a m a t e u r p h o t o g r a p h e r s , Richard I loe
Lawrence and I lenry G . Pittard. Many o f the pictures credit-
ed to Riis were actually taken by them. (Like M a t h e w Brady,
Riis did little to discourage the misunderstanding.) Typically,
there's n o way to tell which o f them made a particular image.
Riis wasn't looking for a n ; he was after evidence. From time to
time editors had assigned artists t o paint anil draw the habitats
o f the DOOR ( N o less a figure than W i n s l o w I l o m e r went to
opium dens for Harper's Weekly.) Riis preferred photographs
because thev forced his readers to confront even* crack in the
plaster and grimy strip o f bedding, without exposing them, as
he once explained, t o "the vulgar sounds and odious scents."
Because they worked so often in dark alley-, and sunless
rooming houses, Riis and his colleagues became pioneers ot
flash-lighted photography, a delicate undertaking in the days
before flashbulbs. T h c v made s o m e ot the earliest use ot the
m
tiewlv invented magnesium flash powder, a volatile substance
that had t o be poured into an o p e n pan, then ignited with a
flaming bang. "Twice I set fire t o the house with my appara-
tus," he Ian i '< corded. "And mice t«» myself."
Riis was not a delicate intruder; tenderness was not his
style. In his pu • . . - ;imlct-eyed thugs and homeless old ladies
are put before us a :r as laboratory specimens in a display
case. T h e y arc not objects I sympathy hut examples ol degra-
d a t i o n , t e s t i m o n y t o the effect o f squalid c o n d i t i o n s . H e
thought nothing o f startling a group o f sleepers with an explo-
sion o f flash and had no patience for anyone w h o tried to
straighten himself up for the camera. I t s n o surprise that in
o n e neighborhood a crowd o f w o m e n drove him away in a
showei i >t rocks.
Riis was bv n o means a radical. His own solution for the
slums was model housing with the landlord's profit held t o
five percent. I le made his appeals to middle-class conscience,
not working-class consciousness. Net his unflinching [xirtraits o f
tenement life marked a turning point between the Victorian
idea that poverty was a stigma o f personal failure and the
emerging conviction that it was a condition that ought t o be
remedied. H e was typical o f m r n - o f - t h c - c e n m r y reformers
whose message was that poverty was at the roof ot disease,
vice and ignorance. "Hie solutions wen- schooling, jobs at decent
wages, adequate housing and health care. It was assumed that
the middle classes would provide these things (through gov-
ernment or private action), either from a sense of class duty or
enlightened self-interest. " T h e sea o f a mighty population, held
in galling fetters, heaves uneasily in the tenements," he warned.
" I f it rise o n c e more, no human power mav avail t o check it."
There were few precedents for Riis'work. T h e British, who
had felt the effects o f industrialism first, had tried to c o m e t o
terms with it thmugh photography. Henry Mayhcw's I ndon
IAilmir and London Poor, a pioneering study that was accompa-
nied bv wood engravings drawn from daguerreotypes, was pub-
lished in serial form in 1 8 5 1 , the year in which England and
Wales recorded as many people living in its cities as in the coun-
tryside. Twenty-six years later, J o h n T h o m s o n contributed 3 7
photographs t o Street Life in London, a compendium of case
histories he wrote with the journalist Adolphe Smith. As would
Riis, T h o m s o n and Smith saw the camera's reputation lor truth-
fulness as its advantage for their work: " T h e unquestionable
accuracv o f this testimony will enable us to present true types,"
thev wrote, "and shield us from the accusation ot either under-
rating or exaggerating individual peculiarities o f appearance."
T h o m s o n was a forerunner of Riis in still another sense.
Thomson spent years photographing in China. T h o u g h Riis
rarely ventured far from N e w York, his work owes something
t o the 19th century travel photographers like T h o m s o n , who
brought back images o f foreign lands and exotic ways of lite.
Riis was an emissary to his middle-class readers from a world
that was geographically close—Mulberry Bend was not much
more than a mile from the mansion* o f lower Fifth A v e n u e —
but n o less foreign or unnerving than Shanghai. H e spoke to
his readers in the language of" their own prejudices and fears.
It's an artinidc implicit in the title of his famous examination
o f the Lower Fast Side, Hoir the Other HalfLizes, published in
1 8 9 0 . W h e n his pictures appeared as a dozen pen and ink
drawings in the Sun, thev ran under the headline: flashes
F R O M T H E S L U M S . . . T H E P O O R , T i l I 1IH.K, A N D T H E VICIOUS.
Riis was a paradox: outraged by the squalor ot the tene-
ment" but deeply suspicious o f the people who were forced to
live in rhem. T h o u g h he was more sensitive than most white
Climbing i n t o A m e r i c a / . ; - : * Hint, 190i

A Russian family o n Ellis Island / Hin> 1905
A m e r i c a n s t o the mistreatment o f blacks, he shared the pre-
vailing attitudes o f his time in his observations o n Italians, Jews
and Orientals. " T h e C h i n a m a n , " he says in one typical passage,
"is bv namre as clean as the cat, which h e resembles in his traits
o f cruel c u n n i n g and savage furv when aroused." A n offhand
bigotry was the rhetorical norm of the 1 8 8 0 s , an era steeped in
social D a r w i n i s m a n d racial theorizing. It probably offered
Riis a way t o distance h i m s e l f f r o m the poverty he h a d nar-
row!) escaped. P h o t o j o u r n a l i s m served h i m the s a m e way.
H a v i n g o n c e lived in t h e s a m e f l o p h o u s e s h e n o w p h o -
tographed. R i i s used the c a m e r a t o master conditions that not
long before had threatened t o e n g u l f h i m . It must have been a
c o m f o r t foi ' im t o b e 0 0 the other side o f t h e lens.
Whatcv c i ttlure to rise above racist stereotyping, n o one
can doubt R n - carted determination t o eradicate the
slums. T h a t W J - I displeased h i m to see his pictures
reproduced as w o o . . 'tigs, w h i c h softened t h e harsh
detail o t his scenes.'I h i •' was always willing to play on
t h e s e n t i m e n t o f his m i d d k - audience, he also wanted to
poke, prod ami shock. In addition to his published work. Riis
showed h i s pictures in a dramatic slide show in rented public
halls. W i t h h i m s e l f as narrator, t h e slide lectures were specta-
cles, a S < T I of prcd.vcssor ot the documentary film, with light-
ing effects and music to underline the message that the tene-
ments must go.
Riis achieved satisfaction in a narrow sense. H i s newspaper
pieces led to the appointment in 1884 ot a Tenement I louse
Commission to remedv the conditions he had exposed. During
T h e o d o r e Roosevelt's years as N e w York's reform-minded
police commissioner, the future G o v e r n o r and President
became a friend, admirer and ally. In later years, he offered gov-
ernment positions to Riis several times, hut the photographer
always refused them. Riis made the Mulberrv Bend slums
such an embarrassment to the city that they were torn d o w n
shortly after. A park now stands in their place. But a century
later, the city is still riddled with substandard housing, and the
homeless still sleep on sidewalk grates.
W h i l e Riis was pointing his lens at squalor in the slums, a
host of publications sprang up to expose the larger injustices o f
monopoly capitalism—"muckraking" w » T h e o d o r e Rixiscvclrs
derisive term. MiChm's magazine, established in 189*1. became
famous for the attacks on urban political machines by Lincoln
StetVens and the e\p- t s e s ot llic Standard ()il Company by Ida
Tarbell, w o r k that was frequcntlv accompanied bv p h o -
tographs. But there was n o single photojournalist ot Riis'
stature and humanitarianism until the emergence ot L e w i s
Hine, a teacher w h o turned photographer in the first years o f
the 20th century I f Riis had shown that the camera could
achieve rough justice, it was H i n e s achievement to show that
pi Ktic justice was also within its reach. Riis' pictures were raw;
I line's were frank but tender, with none ot Riis* occasional
nose-holding attitude toward the poor. 1 le possessed K i t h a
reformer's sense o f mission and an artist s eye.
I line's best-known subjects were the immigrants arriving at
Kllis Island and the ranks o f American workers, especially
child laborers. Like Riis, H i n e knew something about the
world he photographed. A t 18 he had gone to work in an
upholstery factory near his home in Oshkosh, Wisconsin,
earning S4 for a six-day week o f 13-hour days. Kight years
later, he was s o m e h o w able to leave tor the University ot
Chicago, where he studied sociology and education. Prom
there he went to New York Citv to continue his studies at
Columbia University.
H i n e was past 30 when he took up the camera in a serious
wav. B y that time he was teaching science and photography at
New York's Ethical Culture School, a Manhattan redoubt o f
dedicated progressives, whose principles and aims were ro
guide Mine's career. Progressivism was a middle-class reform
movement, a self-conscious alternative to the revolutionary
socialism that was gaining ground among the working class.
Progressives were intent upon ameliorating the hardships ot
capitalism through legislative action, not class warfare. I line
saw his pictures as dementi in a process that began with
aroused public opinion and culminated in government action.
Publications were an essential component ot the progressive
program. I line came to regard his photographic work as vir-
fuatlv unfinished until it was published, preferably as a group ot
images printed together to develop a coherent argument and
collective punch. In 1908 he went to work tor Charities and the
Commons, a journal published by t w o brothers, Paul and
Arthur Kellogg. It says much about the way in which the pro-
gressives jierceived themselves that in the following year the
magazine changed its name DO the Survey, discarding the word
"charity*' (with its whiff o f Victorian philanthropy) in favor o f
a title that spoke o f a scientific and systematic approach to
social problems.
Yet for all the progressives' emphasis on dispassionate sci-
ence, the chief impression left by Mine's pictures is not their
efficient deliver)' o f the facts but their deep feeling. Mis work
seems to argue that compassion is an essential complement of
intellect; that without it, reason tails. It was a recognition that
helped tuni avoid representing his subjects as stereotypes. In
I line's 191)4 portnita o f immigrant arrivals, there are 00 cliches
o f ethnicity or occupation. Subjects cannot be dismissed or
assigned some narrow conceptual slot: peasant or butcher or
Slav. Deprived ot easy signposts, we encounter these people
on their own terms. Mine resisted the temptation to dramatize.
1
I le let the gravity of a young woman's face Ix-ar the full weight
tit his intentions. Even if people could not speak the language of
their new home, the) could state themselves plainly to the lens.
Later, Mine worked for over a decade taking pictures ot
child laborers. I le began in 1906 as a free-lance photographer
for the National C h i l d Lalx»r Committee, a private body ded-
icated to surveying and publicizing the hidden world ot under-
age workers in America. T h e r e were as many as 2 million chil-
dren under 16 in the work force at that time, picking cotton and
vegetables, working the looms in textile mills, stitching in
sweatshops, prying open shellfish at docksides, separating rocks
from ore in coal mines. 1 line's work took h i m throughout the
Northeast, up and d o w n the Atlantic and G u l f coasts, into the
South and the Midwest. T o gain access to the workplaces, he
1 sometimes gulled suspicious mill owners into thinking that he
was then- to photograph their machinery*. T h e n he would move
in with his equipment, all the while keeping one hand in his
pocket for clandestine note taking on the ages and number of
iliild workers. T o get a rough measure o f their heights, he
compared them against the buttons o f his jacket.
Mine went on to d o significant w o r k in E u r o p e during
W o r l d War I. but just as the energies o f progressivism ebbed
and flowed in the postwar years, I line fell into obscurity dur-
ing the '20s, only to be rediscovered just before he d i e d — i n
poverty—in 1940. By that time a new generation o f critics
and photographers had been led hack to concerned photogra-
phy by the economic calamities of the Depression. T h e y looked
upon I lines pictures o f 30 years earlier as ancestors o f their
own work. In a sense, Riis and Hine established between them
the poles ol photojournalism: Riis' work, blunt and rough-
edged ; 1 line's, gentler and more ambiguous. Some combina-
1
tion o f their temperaments is detectable in much o f the pho-
tojournalism that followed.
Sufferers from t h e floods In L o n d o n fahn Tbemtm \ 1876

Tiwnison d e s c r i b e d tlwr a l r c r i n . n l . ..I il -..'n-g ,»n r h e p o o r n t I . n n d o n S L a i i l b e t h d i s t n c t : ~Thceffeite

of disasters," he w r o t e , 'are still firming hea-i i/y upon a hard-xjciting underfedregion of the iommumry '
S t r e e t A r a b s at night / . , / • A W 1889

Some ot R i i s ' a n g r i e s t a m i ino>t a t i e e t i n g w o r k w a s done among the

poor and h o m e l e s s c h i l d r e n o f t h e M u l b e r r y Street .luni district in

Lower M a n h a t t a n . I n b i s b o o k How the Other Halflavei, be described

the boys h e s a w e v e r y w i n t e r "when mow u on the Matt, fighting for

warm \pot\ around the grated z<ent-hfdes'

T h e c r a w l e r s John Thomson,. /> ~«

Thomson made his pictures to accompany a pioneering sociological

vtudy. Street Life in London. It wjs nnc ol the earliest attempts to bring
to bear the new discipline of sociology on the problems ot London's
fasl-gniwing population of puor "Crawler*" wcte p w r people so
mainourisbcd they would literally crawl to tetch water for the hot tea
on which thev chictlv subsisted. Thi* woman hrUf a small child all day
tor its mother, who had found a |ob in a collcc shop
Child spinner
Lewis Hine. 1909

Hine kepi detailed notes On the child laborer, he photographed,

like this one in North Carolina. 'SadiePfeifer, -iS inches rati. age
not known, hat worked half a vear She is one of the many small
children at work tn the Lancaster cotton mi/h.'

A c a r r y i n g boy in a Virginia g l a s s f a c t o r y
Levis Hine. 1911

I line believed in the camera and used it masterfully, but he

did riot count on it to convey all the hardship ol child labor.
11c was careful to add to the title ofthi* picture the tact that
the buy 'works hi day shift one week and night shift next.
He worts all night every other week.'
" B r e a k e r b o y s " at a c o a l mine in South Plttston, Pennsylvania / . u //"<• /''//

Tin- pnnun purpose o* ihi |>l"'i'-^ij(>hs I line n*>k tor the National ChiM Labor Committee,
an organi/aiion committed ti. the regulation o f ehilJ labor, wa* simply to prove that there were
iiulliofu ol youngsters wttrkiiiK in tit l< tries, i tier widelv dented In empknxrv .Among the
most cxploiretl were "breaker Itov*," whose y,A* it wa» to separate n* k* tn»m chunk* of etuL
lake the men tlte\ worked he-ide. the boys endured foul Jir, dangerous conditions and 12-hour
days. In such circumstance*, wrote one miner, life *u V J T . V A - worthhaving.'
A girl at work In a c o t t o n ml
I^iLitHine. 19II

To gain acce** to w o t . • limes gulled

MUptCMKb mill OMTir ... t i e was there to
ph« linn I 'in he would move in

with hi* equip ic hand in his pocket tor

clandestine i

Five c e n t s a spot, Bayard S t r e e t

Jacob Rut, c ISS9

Rio aimed to prod the conscience eft- middle-class

audience with images ot poverty, hut h i * raw approach
Mimctimes made his subjects appear alien ami *ini*rcr.
Photojournalism still navigates hetween the poles ot
Riis" stark encounter* and Hine * gentler pre-entatu m*.

fa
I m m i g r a n t s waiting a t Ellis Island
Lewis lime, c / W 5

Hinc tncd to use photography to humanize his

subjects lor the Middle American Buoicncc be
hoped would see his pictures. Immigrants were
often presented to the public as strange and
threatening; lline showed them enjoying the
simple pleasures ot life, even in the holding pens
of Ellis Island.

A family works at h o m e making flower w r e a t h s

Lam Mne, 1912

'It it Sp. m. and the Mortaria family are making flower wreath,'
I line wrote. The little three-year-old on the left ri a,tuall\ helping
putting the .enter of the flower into the petal. The family said the
often works inegula'ly unttl $ p "i The other children, 9, 11 and N
yean old. work mueh later—until 10 p.m. The oldest girl said her
father it a >oapmaker and/sat heen making thee dollars a day.'
IV: MAGAZINE DAYS 1920-1950
Iter the Moodiest war in history, people withdrew
into private pursuit*. But the postwar public craved
to tnozv. and to an increasing degree, k n o w i n g
meant seeing. M u c h o f the craving was satisfied
by mundane images o f disaster, crime and ribbon
cutting. In a w o r l d now extensively served b y a
competitive and sophisticated press, the public
sense ot curiosity burgeoned. A l o n g with the set
pieces o f public life ami tragedy, photography trained an ana-
lytic eve o n everyday reality.
In the Roaring Twenties, news photography, like W a l l
Street, began another era o f expansion. T h e photographic
industry responded to the challenge ot peace w i t h a broader
definition ot n e w s — a n d a corresponding b o o m in publica-
tion. Pictorial magazine* and photographic journalism entered
a period o f creative magnificence.
T h e IIIMHJ o f picture taking brought protound changes to
magazine illustration. Photography began to break away from
the static, formal traditions o f composition that it had bor
rowed trom the other visual arts. Picture takers armed them-
selves with small, ultra-sensitive equipment that could operate
in less than normal light, w i t h rapid shutter sju-eds and sensi-
tive film that allowed for multiple "takes" o f a subject i n a
compressed period o f time. Photography assumed a narrative
lite ot its o w n .
It one piece ot equipment spurred the capabilities and ambi-
tions of the new medium, it was the I.cica. T h e small, hand-
held camera eventually became as tirmlv associated with the
photojournalist as the battered portable typewriter Wt$ with the
war correspondent. Hie I.cica was never intended for use by
professional photographers. It was invented in 1913 by Oskar
Bamack, a designer at the I .city optical work* in Wetzlar, G e r -
many, w h o was also an amateur cinematographic bull, l i e orig-
inally conceived of the Leica as a small, relatively uncomplicat-
ed device tor testing 35-tnXD movie film, but he soon realized it
had greater potential. W o r l d W a r I interrupted the camera's
development, but in the 1920s Bamack returned to his inno-
vation. Loaded with a spool of .VS m m film that was linked
Zeppelin report. May Day. march of the m a s s e s IVilli Ruge. .V/JV
May Day. the rradition.il dat of celebration for Kuropcan worker* Proclaiming it the "Da\ ot National Labor." the Nazi* flew banner* affirming
solidarity with workers, and Joseph Goebbels staged Germany* biggest mass demonstration. A radio report on the "march of the masses" was
broadcast to the wliole country from this Zeppelin The next day trade union* weie dissolved and their leaders arrested.
mechanically with the camera shutter, the Leica allowed a pho-
tographer to shoot rapidly and repeatedly trom eye level. T i n -
images captured on film could then be magnified in the devel-
oping process and ordered in a sequence resembling action.
I he Leica was introduced in 1924 and spawned a host o f i m i -
tators and improvements, all based on the notion that photog-
raphy, particularly action photography, could be expressed as an
extension o f the photographers o w n act o f seeing.
T h e other development that made the Leica the victor in
news photography was the perfection o f increasingly "fast"
film, which allowed sequences o f images to he captured in
hundredths, then thousandths ot a second. B y 19.10 the best
rolled film was as sensitive as the best coated glass plate. T h e
act o f picture taking became ever more intuitive, a matter o f
inspired opportunism.
A complementary breakthrough, in its effect on spontane-
i t y was the 1925 invention of the flashbulb. ( T h e dangers o f
magnesium flash powder were well documented. W i l l i a m
Randolph Hearst banned its use at his newspapers in 1929
after a photographer lost two fingers in a freak explosion.)
T h e problem wa* solved when Paul Vierkotter, a G e r m a n ,
found a method of scaling magnesium wire in a vacuum bulb.
T h e wire was replaced by foil in 1929, and the resulting p r o d -
uct was marketed in G e r m a n y as Vacu-Riitz. T h e tlashbulb
eliminated m u c h o f the fume and gloom from lighted p h o -
tographs, and speeded up the picture-taking process. Photog-
raphers were forced to come in closer to their subjects, framing
action w i t h figures dramatically heightened against a fore-
shortened backdrop. T h e results were inherently melodramat-
ic, a characteristic t h o n m g h l y exploited by the best press pho-
tographers o f the age. T h e effectiveness and speed o f artificial
illumination were extended again in 1931, w i t h the invention
ot stroboscope lighting.
Possessed ot new capabilities, photographers began to take
inspiration trom the analytical vision ot abstract art and, even
more, from the cinema, with its restless cutting techniques,
multiple perspectives and ruthless editing to achieve a seamless
whole. Photography moved trom the contemplation o f objects
1933, Hie Nasi government gulk-d worken and labor leaders bv co-opting
"Parachute J u m p " Berliner llhntrirte '/trilling '!,/..• K:,: . May 24, 1931
to a subtle emphasis on the process of vision itself In Germanv
critics summed up the rapid evolution in capability and tech-
nique with the term Foto-tiuge (photo-eye), photography as
mechanical seeing.
Germany was one ot the great innovative fonts ot photo-
journalism. The Berliner llhntrirte Zeitung. or BIT., was found-
ed in 1890. Unlike many competitors, it survived, to be increas-
ingly transformed in the late 1920s by its visionarv editor. Kurt
Kortt, and its publishing director, Kurt Sairanski. BIZ bot>sted
its circulation to 2 million with essays bv such writers as Arnold
Zweig and Bertolt Rrecht, and even more by its arresting photo
coverage. Two to five pages ol\ BIZ, heavily loaded with photos,
would he devoted to a single topic: in 1929 BIZ published
what is considered to be its first true photo story—the silent
existence ot the hob men at the monastery of Notre Dame de
• mde rVappc.That tea tun* showcased the work of an cnig-
trian named Andre Kcrtesz. I le was one of a spc-
• lepcndcnt artist-photographers, with a talent for
clue mm everyday images.
h• |vers were forerunners of a new species, the
phot- g • vy_ ind. "ITieir nvjbility mirrored the condition
sweeping across Europe: people uprooted bv revolution, the
redrawing ot national borders and. with the advent of the Great
Depression, economic desperation. I*hc photographer was,
quite literally, the man in the street. If the prewar expansion of
press photography transformed the photographer from a small
businessman into a proletarian, the rise of the postwar magazine
press restored emphasis on the picture taker as a free-lancer.
The chief competitor of BIZ in Germany was the Munebner
lltustrierte Press—Mlbut the allure ot photography trans-
formed a number of publications. German newspapers sport-
1
ed rotogravure weekend supplements. iThe rotary press process
that produced them was first installed commerciallv in 1910.)
New magazines devoted to sports, society and consumption-
inconceivable without current photography—suddenly
became staples.
from its beginnings, photography possessed an enormous
power of factuality. In the postwar era. with the Western world
seemingly in a state of moral decline, the "scientific socialism"" of
the fledgling Soviet Union appeared to otter a ration.il vision tor
society and, as a byproduct, elevated scicntism and realism to
aesthetic heights.The past, burdened with elaborate aesthetic
 21. l u l l 1929 P r C 1 S

nummcr 90 TCorlinor 6 c s
n«fl«S

Cover of HI'/. July 21.1929 RAMI I f a l e a j Munk.u>j began Ws professional career a* a -port- icportcr. but a chance encounter
in a Jewish coffeehouse in HmfapriT changed all that. Munkacsi happened tu be earning a camera when a brawl broke nut
between soldier* and some Jew*, l a w than a war later. Munkacsi had become the higher paid photographer in I hingary.
I

POLITISCHE
=
PORT RATS
»*Bia«ti<.ii.iiit* pi* b i i c i i t a c i pu>a>,um siibnim
I ilk

• 1 * 1 fclOklit

W ttlp MB >fc*. • . , •^
. — • > . - • . • • *H - —

4* **» » *•»'

"PoMUcal Portraits" Mttmbner IBwtrkrte Prmt R, i

conventions, n o longer mattered. Hone was transtcrred ro the masters o f the mass spectacle, used Die lllustnerte Beobaehter.
furure. Science and industry were seen as the basis tor a new T h e sense that photojournalism had a mission, however ill
world that would replace the bankrupt traditions and systems defined, was deeply imbedded in the illustrated press. The
that had collapsed in 1 ° ] 4 . W h a t l e t t e r Depression o f the "new elegant rn-nch photomaga/ine t'u announced its birth in 1 2H U

objectivity," to a world dominated by science and rationalism, with a statement by its director, I.ucien Vogel. that the publi-
than photography, which captured the dynamism ot society cation was "at o n c e a form o f expression and a m e a n s o f
with technology and gave a new freedom to personal vision. action." l o show—or t o suppress—was t o advocate.

Europe, am! especially Germany, was deeply riven by ideol-
ogy in the postwar interlude. Willi Ruge helped build his rep
u tat ion as one ot Germany's tirst great phntojournalists with
images of communist, monarchist and fascist bands battling in
the streets. Unsurprisingly, photojournalism grew ideological as
• n u n of political credo was cranked out o f the printing
pi in himself declared photography and cinema rcvo-
Vogel's founding declaration rested on another a x i o m :
behind every great photographer was a great and strong-willed
editor—the photographer's boss. T h e photographer had given
up immediate control ot his work when he ceased ro be an
impresario-entrepreneur. In the new photomagazines, the edi-
tor became a creative partner. 1 le was often responsible lor the
choice o f subject, and certainly had more say about the final

luti' In G e r m a n y the communist viewpoint was bril- display, fahapt the most creative editor o f the dav was Stefan

liant h rod in the Jrfciter IffustritTte1

Zettutl& where J o h n Lorant, a I lungarian who started his career as a film camera-

Hearttield Da- itned new- photography into a new weapon, m a n and scriptwriter. H e became editor o f XHP, then the

the political phot- -montage. T h e rising National Socialist party, Weekly Illustrated in 1 .ondon and then a new magazine. Picture
 Pot/, I .orant's imaginative sense of display and confidence in
the talents ol his photographers created the modern photo-
journalistic showcase, with the editor as producer and the pho-
tographer as director of an enterprise not unlike cinema.
In a brie! time ol peace, photojournalism launched a war
against privacy. Before the l.eica became the weapon of choice,
the Ermanox, a miniature glass-plate camera with a wide
aperture lens, appeared in 1924. The camera could Operate in
dim light and without being intrusive. Krich Salomon, a (ler-
man-Jewish banking scion with a talent lor discretion, stalked
diplomatic salons, courtrooms and private railway cars with Ins
tripod-held model to produce extraordinary documents of the
closed worlds ot diplomacy and justice. In the United State- a
New York Daily New* photographer, Tom 1 toward, strapped a
miniature camera to his ankle and penetrated the scene of
Ruth Snyder's electrocution for murder in 1928. On the back
streets of London, Paris and Hamburg. Alfred Eiseiisiacdt,
Gyula I lalasz (known as Brassei) and Tim tlidal peeled back
the night to show the demimonde with an intimacv and artis
tic sympathy that went well beyond the earnest researches of
Jacob Riis anil Lewis Mine.
European news photographers had empires to chronicle
and, as the '30s wore on, imperialists and anii-im|x ria[Uts to
a have tailed. Like so many other institutions, the press fell back
announce in India, Ethiopia and Palestine. The photographer
became a sell-contained mobile observer, whose lines of com-
munication were greatly extended when, starting in the 1920s,
press syndicates began to experiment with techniques tor trans-
mitting photographs bv wire.
As Europe's picture-magazine domain flourished, Henry
R. Luce took notes. After the success of T I M E , he wanted to
Bod new territories to his newsmagazine empire. F O R T U N E
was launched in 1930 to celebrate American business (at a
time when that activity was in a somewhat stricken condition).
No consumer magazine had as great an influence «n the course
ot American news photography at the start of the as F O R -
' 3 0 s
T U N E . Luce, who wanted to hire the best writers tit the day
(regardless ot whether they knew anything about business), also
wanted to give space to the best photographers. He found his
first talent in Cleveland, a young woman named Margaret
Bourke-White, who channeled into F O R T U N E a lasvination
with industrial beauty and power that had llowcrcd in Ger-
many as the "new-objectivity." Bourke White's timing, as it was
throughout her life, was impeccable. The I Xrpression was tak-
ing a heartbreaking toll in America, but amid the wreckage ot
economic collapse. American foundries and blast furnaces were
extruding the world's greatest industrial so, iet\. Bourke White
paid it monumental homage.
In politics. Luce was a confirmed Republican, in religion a
Presbyterian; as a publisher, his tastes were catholic. He cared
more about his photographers' originality than about their
politics.The result was that F O R T U N E , with its expansive for-
mat, heavy paper stock and gravure. sheet-fed press, drew
some ol the world's best documentary photographers, mam of
whom claimed to despise themselves, lite most celebrated—by
everyone hut himself—was surely Walker Evans. Now hailed as
one ol America's greatest photographers, he was the producer
ot rich, meditative images of decaying factories, auto junk-
yards, abandoned railway locomotives and peeling warehous-
es—what he called the American "vernacular." A former T I M E
writer, Evans was given unprecedented freedom at F O R T U N E to
pursue what interested him and even did his own layouts.
I hat did nol prevent him from systematically deprecating the
value of his work, which appeared intermittently from 1934
until 1965.
"I am fascinated by man's work, and the civilization he's
built," Evans subsequently declared in the AWr Republic. The
notion ot stxietv as an object tor contemplation, as news, was
one that F O R T U N E went far to establish. In the '30s, that
included the invisible yet pervasive disaster known as the econ-
omy. It ihe press had had to depend on its own enterprise to
establish the contours of that catastrophe, it probably would
on the government assistance of the New Deal, in the form of
a remarkable social-documentary archive: the historical unit of
the Resettlement Administration, later known as the Farm
Security Administration, established in 1935 under the auto-
cratic hand ot Roy Stryker. F O R T U N E drew on the archive, as
did countless other publications, since its products were hand-
ed out free of charge. Stryker. an economist who had taught at
Columbia University, knew the work of Riis and Hine and
realized that photography could be a powerful tool in mobi-
lizing the support ot the American public to help the growing
armv of agricultural poor. I le hired some of the most talented
photographers of the era to collect 288,775 prints, negatives
and transparencies for the FSA archive: Dorothea Lange, Carl
Mydans. Arthur Rothstein and the irascible Evans (whom
Stryker soon tired).
Meantime, the restless I larry Luce, inspired by the outburst
of magazine creativity in Europe, was studying how to create a
picture magazine. 1 le had the unwitting help of Adolf I filler.
In 1933, when I litler took power, he single-handedly enriched
the photographic tradition in the rest of Europe and America
by toning countless artists and journalists to flee. Those who
slaved behind in the Third Reich were required to become
members of the Association of the German Press of the Reich.
Hitler and his Minister of Propaganda, Joseph Goebbcls,
declared themselves to be the nation's paramount picture edi-
tors. All photographs of the two men had to be personally
inspected by them before publication: Hitler would snip the
corners o f f any he did not like.
The totalitarian surge in G e r m a n y pushed the best pho-
tographers o f Central E u r o p e (with t h e exception o f a few
talented sycophants) toward Pari-., L o n d o n and eventually
New York. T h e same held t m e for editing talent. Stefan I .orant
was arrested by t h e Reich and freed only after I lungarian gov-
ernment intervention. I le emigrated to Britain, when.' he even-
tually edited the Picture Post
Korti a n d Safranski o( 111/, tied into the arms ot L u c e . T h e )
taught his stall technique and recommended photographers to
him, including the durable "Eisie," Eisenstaedt. F o r more than
three years L u c e and his aides tinkered, until in November
1936, t h e first issue ot LIKE appeared o n newsstands. It was a
runaway success that almost destroyed itself when t h e huge
demand for t h e maiden issue tar outstripped the press n i n .
L u c e took a d e e p breath a n d printed more copies than his
advertising rates would support.
a n d , starting in 1 9 3 7 ,
graph and, later, television, the magazine gave the nation a
more immediate sense o f itself. It treated A m e r i c a as news.
Insulated from the jxilitical calamities o f Europe, and f m m the
sharp ideological sensibilities that defined so m a n ) European
publications, the tenor o f LIFE was inherently celebratory,
even when the images it bore were tragic o r h o r n tying. F r o m
its first issue, when the magazine—tor lack o f anything b e t t e r -
celebrated .1 Saturday -night wingding near t h e Fort Peck D a m
Lilliput.
in M o n t a n a , LIFE reinforced the A m e r i c a n sense that large
news events a r c o t t c n writ s m a l l — a distinctive feature o f
A m e r i c a n journalism. T h e magazine spawned a gush o f imi-
tators: Look, See, Photo History. Foeus. Pie, Click.
As the magazines extended their scrutiny inward to unex-
plored aspects o f America and outward to nations around the
world, they increasingly covered w a r in C h i n a , Spain, Europe,
then the Pacific. A generation ot cifiigcphotojournalists, led by
1 lenn Carrier• BRESST >n, R« >hcrt C a p a and David Douglas D u n -
I.iii, marched alongside the c a t a c h s m . T h e sensibilities thev had

Today, saturated as w e are with photographic and electron torged in peacetime would bring a powerful dimension t o the

ic images, it is difficult to recapture the immense impact o f recording ol atrocity: a sense o f intimacy with the intersection

LIFE a n o n the A m e r i c a n public. Like t h e railroads, the tele- where individuals create and sutler historv.

At work Hem Ignat'/vi.h. 1929. T W E L V E Y E A R S alter the

R E V O L U T I O N . S O V I E T L E A D E R S W E R E E X T O L L I N G T H E workers'

N E W R E L A T I O N S H I P T O L A B O R , C A L L I N G T H E M "masters of

T E C H N O L O G Y " O R " S O C I A L I S T H E R O E > . " T H E magazine

Sovetikoyejoto U R G E D P H O T O G R A P H E R * to create a
" P R O L E T A R I A N P H O T O G R A P H Y " I I I A T W O U L D concentrate on

T H E H E R O I C W O R K E R , E M P H A S I Z I N G his dominance over

T H E M A C H I N E . T O C O N V E Y T H I S , P H O T O G R A P H E R S had to

R E V E R S E T H E S U E R A T I O B E T W E E N man A N D machine. Shot

T R O M U N D E R N E A T H , I N S T E A D O T straight O N . the worker
B E C A M E T H E G I A N T H E W A - E X A C T E D to be.
Summit conference Erkb Salomon, I92S French statesman Aristidc Briand and German Minster of Foreign AtVairs Outtav Strcscmann mei
with British Foreign Minister Sir Austen Chamberlain. August Zalcski o f Poland, Mmcichim Adaehi of Japan and Vittono Scialnja of Italy in
Lugano before the signing of the Kellogg-Knand rVacc Pact renouncing w-ar.

E
trial in 1 28. At another murder trial, he put ihc
Erich Salomon
M

rich Salomon came to photography

camera in an attache case ami rigged a lever tu
late; he began laking photographs at
trip the shutter 1 lis reputation soared.
age 41. Within a year, the impeccahly
The great institution* ol politic*, justice and
tailored Salomon was on his way TO becoming
diplomacy fascinated Salomon, ami he had a
one of the torcmosi photographers of F.urope.
remarkable abilit\ to penetrate tliem. Fastidious
He had an uncanny knack lor penetrating the
and multilingual, Salomon blended in easily
innermost crHinuls of Kuropean iliplomacy. Hi*
with the great men who were, in a sense, his
shots of Kunrpcan statesmen and diplomats at
more su^csstul peers. At the signing o f the
their secretive labor, bmughi a new term to the
kelk>gg-Rnand Pact in Paris in 1928. Salomon
lexicon when a London GtmMt editor labeled
simph walked into the signing m o m and took
Salomon the "candid camera." Salomon's
the vacant seat ol the Polish delegare-. Kventu-
achievement, however, went beyond bringing
ally, the statesmen whom Salomon stalked
new territory within the range ol photojour-
bestowed on him their ultimate accolade: thev
nalism'* inquisitive! ies>. Sakwnon helped cement
came to believe his ptesencc was a necessary
the notion that news photographv was a privi-
part of their deliberations Salomon had man-
leged form of seeing, a record of event* that
aged to convince them that photoiournalism
brought the viewer together with the event. In
was pjrl of the historical record. The "photo
In* chosen tu !.:. Salomon WU the equivalent 1 li» first photograph* were made in 1927 to
opportunity" was boni.
of the greatest war photographers, and in his document sonic Uga! dispute*. Kventiially he
iii^tiiioiiMiess. surpassed most ol them. came upon the camera that was to make lit? W h e n A d o l f Hitler came to power,

Hi >rn in Berlin in 1886, Salomon studied law, careen die Kmiainn, a small, gias-- plate camera Salomon fled to 1 lolland with hi* Dutch-born

ind / . - v -\ Ann Wot Id War 1. combined with a laige l 2 len* that made it
v wife and continued his career at the Hague.

i l l fortune wa* lost, he touml a job unable in dim aght. I lis initial *ucect«cs came in L I F E ottered to bring him to the United State*,

in d* i i departiueui of the Ullstcin Berlin criminal n i u i t M i i i m , where camera* were but he ntuscd. hi Mav I ' 1 " I litler invaded the
1

publishing ». publisher o f the Berliner banned. Kv Ir.ding hi* Krtnanox in a bowler hat Low Countries, and Salomon was napped I le

llhutrir!- / ii ••-non wa.* placed in charge ami cutting a hole tor the lens, Sakimon caused and his tamih were betrayed t " the N'a/is and
a sensation with his pictures ,.| a police killer on die»l in Auschwitz i n July l'*44.
ot the coii.;inv"s billboard ads.
Joseph Goebbels
Alfred Euemtaedt. 1933

Joseph Goebbels, Adolf I Iider's

Minister ol Propaganda, with his private
secretary ami Hitler's interpreter at a
League of Nations Assembly in Geneva.
"When I ami up to him in the garden
of the hotel,' Liscustacdt later recalled,
"he locked at me with hateful e\& and
waited for me to wither. But 1 didn't
wither. If'! have a camera in m\ hand,
I don't know fear."

"S
 P i a z z a del C a m p i d o g l i o
Car/Mydam. 19-tO

This picture of the famous !<>th cenmry Roman square

was shot during an assignment tor Lift on Fascist Italy.
"When I arrived in Rome in May 1940,'Mydans wrote,
"/ was repeatedly prevented'from taking pictures hv Black-
ih'nts who blocked my cameras On .May 9. Muuo/ini
appeared a: the Victor Emmanuel II monument to celebrate
the fomth annnvsary of the founding of the Italian
Empire. A circle of security men Mined me from the ceremo-
nv Rut n> Musiolini wat departing, he strutted right past
me. The security men were compelled to applaud as he went
Pri va t e j a z z c o n c e r t in a Berlin villa Felix // Man, 1929
by, and I torn able to make one quick frame between their
\houldery The picture appearedacron a p-ige oj\.\Vf. several
Man, who worked vridi Depfaot, the German photopipfaic service, was m great
week later with the caption. 'The elderly Butcher Boy of
demand because i it hiv talent for covering the widest possible range of subject*.
Fascism, Benito Munolwi, steps out .'TheTt\u; and I A H :
Man left Germany during the great exodus ol artists in the mid- ItK
staff's were immediately expelled from Italy.'
The h o u s e of s i l e n c e Amlri Kert&X, 1929 M o n k s at the mot her house o f theTrappist order, N m r c D a m e d c la ( J r a n d c Trappc, in SoUgny.
T
o the European publishers of'photo
journalisms golden a g e and to his
peert, H u n g a r i a n e m i g r e A n d r e
Kcrtcsz was o n e ot t h e most interesting and
provocative p h o t o g r a p h e r s ot his day. H i -
haunting sense ot composition inspired genera-
tions o f succeeding photographers: a dadaist
dubbed Kertes/ "Brother Seeing F.ye," lor his
angular vision o f reality, in which nothing was
quite as it appeared. T h e photo-essay tormat
was \irtually invented tor him. Yet in America—
where lie i m m i g r a t e d b e c a u s e o t H i t l e r —
Kertes/ was t \irrual unknown.
Born in Budapest in 1 8 9 J , Kertes/ was a
sett-taught photographer who picked up his first
camera when he was IS. H e was drafted into the
Austro-Hungarian army in 1'>1-|, and had his
first photographs published while he was
in unitorni. In the desolate years following
World W a r 1. Kertes/ joined rhe great mtellec-
« f P a r i s streets a n d m o n u m e n t s in w h i c h
Andre Kertesz
human figures appeared as if by accident.
F o r K e r t e s / , p h o t o g r a p h y was an act o t
organization. His sense o t the extraordinary
made h i m » hypnotic chronicler o f everyday
event*. Kcrtcsz s greatest journalistic collabora-
tor was the French editor Lucicn Vogcl. who
ran his photographs without explanatory pn>*c;
tlie haunting images made text redundant.
W h e n Kerrcs? c a m e to the U . S . , he discov-
ered that his new audience was more interested
in straighrfbrward narrative photography, not
one ol his strong points. H e was never pub-
lished by L I F E . Appreciation of bit work was
left to the C o n d e Nast fashion empire, which
tua! migration to Pans, where he ensconced
signed him to a long-term contract. Ultimately.
himself in 1 9 2 5 . Kertes/ wat the quintessential
Kcrtcs/'s reputation was rehabilitated by t h e
bohcmian; hi- friends included the artists Pict
Museum ot M o d e r n A n . A t the time o t his
Mondriati j n d Marc Chagall. Cinematic pho-
death in 1">SS. Kertes/ was widely recognized as
tographv shaped his tastes tor unorthodox cam-
one o f the seminal figure* o f photojournalism.
era angles and carefully framed, geometric shots
Relief rice for starving J a p a n
Car/Mytiam. W

Ri-c being unloaded from a -hip i n k"bc'«

harbor during rhe American occupation.
 M o t h e r a n d child a t H i r o s h i m a
Alfred Eisemtaedt, 194$

'Wlvn I hid _jv.nr Hiroshima hardly a

building wai iranding. but the people had
clearedallthe rubble from /he streets. A mother
and child were wandering near a ruined site
where orue they had lived. When I asked the
woman if I could take her puturr. the bowed
deeply and posed for me.'

•« 1

* -
Wounded by a b o m b , a Chinese baby howls pitifully in
Shanghai's railroad station
//..S. CNtmeF) Hong. August 2S, 193?

W i t h Chinese Nationalist troops in retreat. 1,800 people

stood on the platform at the railroad station in Shanghai
waiting to be evacuated to the mainland. Japanese airmen
mistook the crowd for a troop movement and bombed the
station. W o n g , a cameraman tor I learst Mctroionc New*,
waded through the wreckage and photographed this tiny sur-
vivor. His film WAS sent by U.S. Navy ship from Shanghai to
Mjnil.i. then flown to New Mirk. Two weeks later, the photo
wa> seen in Hearst newsreeh and newspaper*. T h e October
1 4 , W 3 7 , issue of L i n estimated that 135 million people had
seen Wong's "Chinese Baby."
 The lliiulmbiirgdisaster 1
. <> I A i r * . I'lV.

Passengers paid $4111) to cross the Atlantic in luxury al»aid the

t/indenburg. The magnificent S04-liiot-lnng dirigible boasted a dining
mom, a library M l a lounge with a grand piano. W h i l e atiempring in-
Air-raid a l a r m
land at 1 .'kehuist. New Jersey, alter its 3 7 4 <ncan crossing, the airship
R-J'iTl Cifhi. .l/iiv /'/<f»
suddenly burst into flames. O f its 97 passcngert and crew, 36 perished

Civilians during the Spanish Civil W a r as the era of lightcr-than-air commercial flight . aine to a tragic end.

look up inward G e r m a n Luftwaffe bombfen Though 22 newsreel and still photographer* were on hand, this trame

living Over ihc Gran Via in Bilbao. by Shere, oflnternanon.il News Photo*, i* perhaps best remembered
Auto thief arrested, c a r crashed, one killed nrthm Ftllig C*"ctg* J

C
existence as hit and nin as the gangster nihouts
Weegee
rime was my oyster, and I likrd it."
claim* : Arthur I elI;.:. die diminutive, and auto srnashups he c i n v m f Rushing to crime

srrccmisc master of the Speed Graph- MCIX>, developing pi. run-s in a ftriv/y, then flog-

ic press camera, who wun tame, modest fortune ging them to the daily newspapers tot $5 each,

and artistic esteem as a result. Under the sobri FcCigdcvcktprd a premonitory sense ol where to

quct Wrcger (or, as he .ihvays stamped his work, he, and when, to beat out his rivals. The name

Weegee the Famous). Fellig was the I>amon Weegee was bestowed bv admiring peers; it

Runvon nt pinttojournalism. His up »lose, flash referred to tlw [Sijiul.ii Ouija hoard it was said

bulb-hghred view of New York City's violent, Fellig must use lo arrive on .rune scenes so

late-night streets provided the lutid images pnimptly. Fclhg, with a genius tor sell-promo-

tabloid journalism craved. Fellig was a police- tion, immediately seized on rhe name.

hloner photographer, perhaps the ultimate ofliis Fellig's premonitions were eventually sup-
kind "I lieloug tn ihc work!," he declaimed, in jilanted by a police radio in his 1938 maroon
has celebrated hard boiled style. "And 1 work Chevrolet coupe. The trunk held a primitive
Only for locks and ti >i money* darkroom, so that Fellig could process his film

Fellig demon••. 'hr bnital faenial- on the spot What gave his photography its

ify ot press photograph dtstDkd into a pnww. however, was not so much its immedia-

form of melodrama. Noil • mmed up his school in the seventh grade and became a pho- cy* as its rurranvc sense. F«* FVIUg, each crime or

approach better than the • I his most tographer's apprentice as a way of earning tragedy was a social c\cnt. in which observers

money. He graduated from the ciarkn-oms of crowded i .• -I tin- vene of calamity; giving it
faiuou--collection of woik. A . '
Acme Ncw-picmres. a photo agency, to become a past and a tuture He died in 1966, but his
Fellig was literally a child ot \| M.JJ'-

a free-lance photographer operating out of rcputanon continued to gn>w. In 1 **77 hi« work
streets. Born in Austria, he came to (he I Inited
|*>licc headquarters. Contr.uy and combative, won a retrospective showing at the Internatiou
States with his parents at age 10 and giew up
I'Vllig led a gypsy life, an insouiuiac Front Page al Center ot I'hoiograplu
on the Lower Fast Side. He dropped out ol
Suicide / RMHBS rp, 1942

T h e woman described -is J de»|»ondenr divorcee.

Sorgi's camera caught her H she plunged t o her death.

 Fred Astaire
Mar/in Mufiiatsi. W o

About lii- photography, M u n l a o i once wrote: 7 bat*

nnvr taken pam* to establish m\*elfas a specialist, nor to
•MM exclusively at one or another branch of photography.
!t u.ui never my desire to he tailedm 'the most outstanding
landscapephotographer' or m 'the most outstanding news
photographer' or as 'the most outstanding portraa-photogra-
M f j / t w * content to be known as a 'good photographer.'

'He. whose aim is the genre photograph, mint be

somewhat of a poet in order to lend hn pictures a dash of
t i ,/»,'./ imagination And rh, po>trait-photographer
must be a hit of a psychologist the landuaper, a hit of an
artist, and thev ait Mttf draw well, to ami* at a perfect
composition with each of their subjects.

And tinalh- the top of all; newt photography—which

re/ptirn beyond all these ptaluiet the quality of a rournalitt,
with an instinctfir the new*, the knowledge of an all-
round sportsman who runs, rumps, climbs, plus the tact
and the wit of a diplomat, that is, to be ahle to emerge from
the most emharratsing situations with the best possible shot
already bagged *

A study of the i m p a c t of a golf ball

Harold Edgerton, 1939

Stroboscopic devices, which made action appear to

stand still, were harnessed to photography in 1931. T h i s
photo shows the impact on a telephone hook o f a golf
ball traveling 2 2 * feet per second.
J o e DiMagftlo IV. P dan, 1949

D I M J I K I " strokes * double in the l"-M All-Star Ginic.

Waiters. St. Moritz Alfred Euenstaedt, 1932

I •. • • , •:• a pioneer o f photojournalism, was toned to leave Europe OOCC the

Nazis came to power He became one tit I.id's tour original stall" photographers

Exchange Place
Berenice Abbott. 1934

Bcrenke Ahbon left the Umird Slates fa Kurope in the early

W 2 i K and worked in rhe studio ot the legendarv Surrealist artist
and photographer Man Ray She rcnirncd per:nanentl\ to the
United State* in 1929. There wu> little private patronage fa the
arts or for artists, so Abbott turned l i t the Kcdcial Arts Project* of
the \\>>rk* iVogress Administration tor support. Thev wrote ot her
in the "Wv 'Berenice Abbott Jen net vuA- /» be called artittu She bum
txyfry/biHjt that u untfztnt.il tricky, cr deiicm. Her photograph* are
not dretted up with trailing clouds nor dramatized with superfcuil
tricks or angle shots, soft lighting or owmmplification. This it 'straight
pht.logfaphy ' Amid traffic, baste, vibration. erovjds, corrfuuon, ihe ha<
Hi up her H x JO camera, lei fieJ it off uithatinv carpenter's ,pmt level.
ctmptveJ the image on the ground gla\*. focused it. calculated exposure,
and taken the picture. Bui the layman mmt net think for an maant that
these photographs vxre made by merely pressing a button They are the
work of a matter artist who is a master craftsman as well'
what a r e all t h e s e people so worried a b o u t ?
funwi (Cowherd

'Ous somewhat enigmatic picnire by 4 photographer from the Louis-

ville I-unf'-/awn.//won top awards at the I 'niversitv o l Missouri's
School ot Journalism and a great deal ol attention whenever it was
exhibited. People wete disturbed by the worry that pervaded it. Pho-
tographer Barney Cowherd could otter no enlightenment. 'It was a
warm Jay,'he recalled. 'andpeople were waiting/or the lights to change '
Death of a Loyalist soldier Robert Cab*, Stfttmhr 5, 1936 Taken near Cerru Munann during the Spanish Civil War, this photo first appeared in
the French magazine l'u. Capa said he snapped it just as this Loyalist tighter was struck in the head by • bullet after emerging from a trench,
though some critics later disputed that account. It is nonetheless considered one ot the greatest war pictures ol all time.

E
from business concerns, sell their work and pro-
Robert Capa
ndre Kmo Fricdmann— better known
as Robert Capa—was a rebellious mote photography in general. Members would

young socialist from Budapest, Hun- retain copyrights to their photographs rather

gary, who rose from the darkroom of a Ger- than passing them along to the publications

man photo agency to become the foremost war that retained their services. Capa had dreamed

photographer of the age. Along the way he cre- of such an agency since 1 9 3 8 . but war had

ated a persona to go with the name he had stalled his plan-. Finally he achieved his ambi-

invented for himself: the daring, debonair, itin- tion: to free the working photographer from

erant chronicler of street politics; lover of beau- the whims of editors who had the power to

tiful women; partisan o f left-wing causes. choose die assignments and select which images
would be published. The founding of Magnum
Capa's self-image and his extraordinary tal-
amounted to an emancipation pnvlamation.
ent undei tire wrre (used during the Spanish
Civil War, | he covered passionalelv T h e original group soon dwindled. The
from the Loj i He later developed the Vandiverts left in 1948. Capa died in Indochina
dennilive yards;-. w v photographer's i n 1954. Seymour was killed at the Suez Canal
trade: "If your p;«; good enough, Museum o f Modern Art in 1947. Together in 1 9 5 6 . An extraordinary array o f talents
you're not close enouj ng his own with his longtime friends and colleagues David replaced the giants: Capa's brother Cornell
dicnim, Capa swam asho:» • lirst U.S. CChitn") Seymour, Henri Carrier-Bresson, ( 1 9 5 4 ) , Marc Riboud ( 1 9 5 5 ) . B n i c c Davidson

wave to hit the Normandy bcashci and was William and Rita Vandivert and the gtcat war ( 1 9 5 9 ) , Leonard Freed ( 1 9 7 2 ) , Gilles FVress

present for the liberation *>f his lul :

'aris. photographer George Rodger, Capa founded (1974). Magnum's members continue to uphold

Still. Capa's most lasting contribution to the photography collective Magnum, an orga- two founding traditions: uncompromising qual-

photography may have been scaled over Iiuuh nization of, by and for photographers. ity of work and a passionate sense ot commit-

in the penthouse restaurant of New York Cue - ment to the subjects they record.
The cooperative was intended to tree them
Santa Lucia Mountain Range between
Carmel and San Simeon, California
Nina Leen, 1945

Russian horn Nina l.ccn wH brought up in Europe and

educated in Dresden. She came to the United States in 1939
at the outbreak of the war and began working for L I F E shortly
after. She is best known for her pliotographs of animals.
Trying t o buy gold before the
Red Army e n t e r s Shanghai
llfim Cartwr-Bmun. 1948

This picture wjs taken in December 1 JK. wlien the

U

kuommlang announced it would exchange paper monev

fnrgobl at half the M i c k n u i k e t rate. L artier Bresson
detiited photograph* JS composition that is, the single
picture constructed to serve "a>./ \*h;l, in ilu-lf

Girl and movie p o s t e r

John Va.hon, Chfoher I Vis

Vachon began hi* work for the ls.» Historical Section as a

S'Xt-a-month assistant messenger, the bulk ol his w o n
invoked co|ning caption material I X-sptie this inauspicious
beginning. Vachon'*. infetest in catakiging the c<>untry ovrr-
c a m e his lack o f photographic expertise. H e was i n o n * ted
trom assistant messenger to toeing photographic tile clerk
w.th c a m e r a ! and. alter some advue trom fs.4 i o - w o r k e r *
tike [X>nnhea l.angc, Ben Shahu. Arthur Kothstcin and
Walker hvoiis. h r began making field t r i p lor rhe rsA.
Ford plant. River Rouge, Michigan
Mi/ron Bnoh. 19-fl

For 3S years no strike had C V I T closed my ol ihe Ford

plant* in Detroit. This picture ot the violence outside
the River Rouge plant won the first Puln/cr Vrize
awarded tor news photography
Bushmen children \ R Fa

Bushmen children of the southern Kalahari Desert in central-southern Africa sit around a
campfirc with their elders. The - hief acts out each event o f rhe story he tells his hand. The
struggle o f these mxnadic people to eke out an existence in the barren wastelands ot SOUtha
Africa was document. nail* for the first time by L I F E photographer N R . Farbman.
Kashmir Henri Carrier-Breuon. 1948. Alter the 1947 partition ot India, the question of jurisdiction over Kashmir helped precipitate the first of
the India-Pakistan wars. This photograph was taken during a two-year period when Cartier-Bresson was working and Irving in the Far East.
T
he debate still rages in aesthetic circles
about the achievement o f Henri
Cartier-Bresson, the quiet, cerebral
French bourgeois who is considered bv nunv to
be the best photojoiimalist o| all time. Was he
an artist whose wurk was often perceived a*
photojournalism, or a photojournalist who ele-
vate.) the metier to the perfection of art"- Carber-
Bresson called ho l.eica a "sketch book" and
insisted thai the essence ot picture taking lay* in
the spontaneous organization of reality as it
occurred- A painter bv training, a surrealist, a
rebel and a communist by early inclination.
Cartier-Bresson was horn in 190S near Paris,
the son ol a wealth* textile t.iinih A* -i • a* be
could, he left behind the middle class life to
mingle with the Parisian avant-garde: Salvador
Dali, Max Ernst. Jean Cocicau. By 1931 he had
abandoned painting lor the camera.
Carrier-Bresson was prone to wanderlust.
Henri Cartier-Bresson
and he brought a pared-down, sttangelv dislo-
cated sensibility to his views of street life. What
he later. ailed the "rhythm in the world of real
things' qui* kh established him a- a visual poet
ot the ordinary In 1935 he became intrigued bv
cinema ami later worked as an assistant to Jean
Renoir. During World War II. he fought with
French forces, was captured and escaped alter
.Vi months a* a priwmct o f war.
Two yean after the war ended, Cartier-Bres-
son ww given an exhibition bv the Museum o f
Modern Art a n d became a principal founder
M the photographers' collective Magnum. In
1952 h e published The Demtve Moment, his
discourse on photography as a product of intu-
ition, intellect and spontaneity. T h e work
became a bible lor ensuing generations
T n i e t o his surrealist heritage.Cartier-Bres-
son alway* claimed that I K wa* n o t primarily
interested in t h e particulars ol the social and
political e v e n t s h e photographed, it was the um-
\XTsility t h e v represented that he sought to c a p -
t u r e After t h e war. lie produced masterly con-
templations ,,t China, the Soviet I'mon and
t h e storm* Third World Cartier-Bresson. now
in h o late 8 0 s . lives quietly in Pans, painhng.
 Girl at Gee's Bend. Alabama
Arthur Rothstttn, Aprxl 19.17

Rnthstcir wa» the lii'l photo,;'Jpher hired b» K"\ Srrvkrr lor the
I li-t.-ru J ! Sevtmn of the Resettlement Administration- A furmer
student ot'Stxykcr's J I Columbia University, Rothstcm w » 21 yean
old and only a month out ot •thotil when he began work on juh ] .
l'MS Pus picture «a* part ol a series he took when assigned to
photograph condition* in and around Birmingham, Alabama.

A week's housework
Situ Ism, 1947

Manoric M t W c c n e ) o| K\c. New York,

surrounded by a tvpual week's load ol
housework and supplies O K photo was
pari o f a *tory on the American woman.
 0

Taxi dancers. Fort Peck, Montana Mngmtf Bomke-Whitt. 1936, In L I F E " * debut issue, B..urkc-\Vh.tc presented America** first photo essay.
Shu took the pictures while on assignment to photograph the nearby Fori Peck Dam. Alter she shot the taxi dancers, a brawl broke out among
s.imc of her more unwilling subjects. F I F E ' S editors, meanwhile, were desperate for a lead story fur their intended new showcase of photojournal-
ism, VIAVF von C O T c o o n F O R T PFCK N I C U T I I I i I'ics. they cabled. She did; the story ran tor nine pages.

S
he was die best-known woman pho- resulting images was puhlislier Henry R. Luce,

N.|iMirnjlisl in histttrv. hul thai was Margaret Bourke-White who ottered Iter a tukct to New York in 1929.

only one of the distinctxriis ot Mai- I le had a p4i foe her. working on a new maga/mc

garct Bourkr-Whrc-Tric daughter ot an inven- he was I. ..Hiding, named FOJtTtJMB. It woukl, he

tor and ainaicur ph-Mi-rapncr. she studied with assured her, luvc "die imtst dr.imanc plmtographs

the great American m ; >t.-grapher Clarence ot industry that had ever lieen taken."

White, then became Jr. architectural plmlogra- It would and did; many o f them hers.
pher in Cleveland. She g U M * : .1 ulvcrtisiiig Rourke White's O n * Steel photographs
work, which led to a fascination •,* i'h industrial adorned the dummy issue, and helped sell
n *\ a ba*i* motif o f F.uroprjfl p h o t o advertisers on Luce's brainchild. She had the
aesthetics. magazine's first photo credit. Bourke White
went on to define the image ot 'UK industry
White's Kg break t a t i K ' with a . m i .
with her richly detailed, almost abstract
nw»»>: in i^Mttutrraph theOiis Steel Company
homages to the building ot America.
in Q e v c L i \-nong thine impics-ed with tie
Fort Peek Dam Margaret Hourke- White, 1936. In this study of the construction ot'the giant pipes used to divert a section ot the Missouri River
during the building o f the Fort Peck Dam in Montana, human figures lend perspective to ihc abstract geometries.

Then Hourke White discovered her social fmt issue; her extended photo essay on the

conscience. She made nv<[iicnt trip to the Son worker* and local townsmen at play was the

et Union to observe the new socialist society, mam picture stun inside For the next 21 year*

with the blessings ol the Bolshevik government. SIK- wa* the premier puturc magazine's premier

At home, wirh her tunire husband, author £ r photographer. She witnessed the tirst German

skuic Caldwell, she produced a powerful social a i r raids on Moscow, was the tirst woman to tl\

document. You Hate Seen Their Facet. 0 0 the on a U.S. mihtan combat mission in 1943. and

plight ot the Southern poor. was part ol the ptev* contingent that uncovered
the horror* of Bucheuwald Slic photographed
Her greatest accomplishment, undoubted!*,
Gandhi in 194S »« hour* before lie was assassi-
was helping launch l.lt'K. She started work lor
nated, and later cinvred the war in Korea. In
the ••!(..•. two months be tore it hit the
the cany WsOs Bourke White discovered that
stands, with I ii.e luniH'lf setting Iter tirst a-sign
she liad I"JTkin— s disease She ceased »»• eking
ment. Bourke White's photo o| the new Fort
tiw I.IFE m 1957 and died in 1971.
Peck Dam in Montana ran on the cover ot th«
Father and sons walking In t h e f a c e of a dust s t o r m .
Cimarron County. Oklahoma
Arthur Rothttetn. J9.16

Sometime* known i < iSi-wl," dm image is one ol the m->*t tlinooi

ofrhctiie.it Depression J .,i il d,< night-worsened collapse o| Ijtmiug
on the (treat Plain*. At first in. . !!•. i. of die IX-presMon and the DoM
Howl crisis were ignored by the government and the press. I'brti the
i l t . . -.ition ot tltc times made econoiin. ni>n» into news A* poet
Aichibjld Macl-eish put it. "The Ttefne%\ton •.*.« cue thing \9u haJtoknw
about "t in the trip on which I K took tin* picture. Rothstein coveted tttorc
than UK*' miles. The dust cvenniallv destroyed "'u> camera.

iiH
Negro barbershop, Atlanta, Georgia
Walker Evans. March 19.16

Evans jnine.1 the Historical Section of the FSA in 19.15 and was
fired bv Roy Srrvker two years later. According !•> I van*. .
• A t / nof understand thill a photograph might he tomethng more th%m
just an item to file away. He mined the point of the eye.. Stryier did
not have any idea what an artist was. and it was unfortunate that he
had one like me around I u.i\ excessively independent by temperament
and had a hard time with him because of this. Stryker was shrewd
enough to make use of the talent I had. but we were bom to clash '

Child o f m i g r a n t w o r k e r in c a r , O k l a h o m a ft 1919

Russell Lee joined the Historical Section in taking Carl

Mydans* place when he left rn work for L o t L i e stayed with
the section longer than am' other photographer and pntducca
the greatest number M photographs.
M i g r a n t f a r m w o r k e r . K l a m a t h C o u n t y , O r e g o n Dorothea I.tnge. August !'' 19
A
s a n d c , great p h o t o j o u r n a l i s m c o m -
b i n e talent, f o r t i m d c , d e t e r m i n a t i o n
a n d luck, D o t o t h e . L a n g e h a d m o r e
t h a n h e r s h a r e o l a l l tour. D u r i n g h e r career,
she t o o k s o m e ol" t h e m o s t m e m o r a b l e pho-
t o g r a p h * e v e r m a d e o t A m e r i c a ' s w o r k i n g p<x>r.
B o m Dorothea N u t z h o r n . she was a child-
h o o d po|i>> v i c t i m w h o s e l a t h e r a b a n d o n e d h i s
f a m i l y . Lange declared h e r interest i n p h o t o g -
r a p h y b y t h e [11 he w a s 17. E v e n t u a l l y s h e
m a n a g e d t o stud \ ui lei the l e g e n d a r y C l a r e n c e
W h i t e a n d w o r k Willi I 'laii-boin photogra-
p h e r A r n o l d G c n t h e (famed, a m o n g Other
t h i n g s , f o r bis San Francisco earthquake p h o -
t o g r a p h s ) . S h e m i g r a t e d t o m._ \V- • C o a s t .
'.vii-Tt: s h e e s t a b l i s h e d a p h o t o -tu.:i-
L.mgc's s o c i a l c o n s c i e n c e p u s h e d h e r i n the
direc on >t a g i t a t i o n l o r r e f o r m . W i t h e c v m o -
m i s i I' I.ivlor. h e r r i i n i r c h u s b a n d , s h e d o c u -
mcntct' , o o l m i g r a n t s i n "the factories ot
Dorothea Lange
t h e fields," w o r k t h a t e v e n t u a l l y brought h e r t o
t h e a t t e n t i o n o f t h e R e s e t t l e m e n t Administra-
tion, latet k n o w n as t h e F a r m S e c u r i t y Admin-
i-[ration. Before that happened, h o w e v e r . L a n g e
had a l r e a d y t a k e n o n e o f t h e great images o l
the D e p r e s s i o n , a 1 9 3 2 p h o t o g r a p h o t d e s p a i r -
i n g m e n at a s o u p k i t c h e n , k n o w n as t h e White
Angel Breadline.
A t d i e F S A . wlierc she w o r k e d f r o m 1935 t o
1940. L a n g e b e c a m e a p h o t o j o u r n a l i s t d e s p i t e
herself, since F S A m a t e r i a l w a s d i s s e m i n a t e d
tree o l c h a r g e t o a n y n e w s p a p e r t h a i w o u l d u s e
it. L a n g e ' s g r e a t talent l a y i n h u m a n i z i n g t h e
d i m e n s i o n s o l t h e Depression tragedy, she trav-
eled t h o u s a n d s o f m i l e s across t h e c o u n t r y t o
capture her scaring portraits o f poverty. Lange's
h u m a n i s t i c b e n t w a s best e x e m p l i f i e d i n h e r
Migrant Slather, Ntfome, California: a l a m b e n t ,
s y m p a t h e t i c portrait o f a destitute pea picker
a n d h e r f a m i l y that is p e r h a p s t h e m o s t w i d e l y
r e c o g n i z e d i c o n o f t h e '30s. A f t e r t h e w a r .
Lange continued to photograph the strong,
w o r k - c t c h e d faces o f t h e A m e r i c a n p e o p l e , a n d
particularly rhosc o t w o m e n , until she *uc-
c u m l v d t o cancer i n 1965.
Migrant mother Dorothea Lang,. M*rtb It.16

7 M M an J approached the hungry and dtperate mother, at if Jra--n by a magnet,' L a n g r vud. 7 do not
rememher he--. I expiameJ my present, or ,ame*a to her. hut I Jo rememher iht aiieJ me no yuettwtx I Jut
not ask her name or hittsry. She told me her age. that \he M X 32. " T h e lave ot this woman in 4 California
migrant worker*' iarii|> 1 - one o f the best-known u«>io of the Dust (low! era.
 T h e b a t t l e s h i p , trizona
Attmymcui. Di<embfr 7.1941

W h e n the bombs dropped, ' h e Amcna exploded and sink,

carrying more d u n 1.100 crew members to their deaths.

Pearl H a r b o r Inhabit
bombing by Japanese planes

T h e M a c k bv B O R M a 3 5 0 plane* and nomc midget

• l U b m a r i i i L - -evereh d a m a g e d a number ol the r u n l e s h i j T *

.inch-•:• I t h , i l Si.iid.iv in IV.irl Harbor's Hjttle-hip R o w

io:
Private J o h n W i n b u r y says g o o d b y e to his son
R'Jvrr Jatobten, 1940
Soldier's skull o n a d e s t r o y e d t a n k
Some o f the more poignant war images were not battlefield Ralph Men,: February 1943
pi, • i but parting*. «udl • thi» National Guardsman uying
gpodtne to his M«I lielore leaving lor H a w a i i
The charred head ol a Japanese .oldicr was propped upon the
rank after it was destroyed by U.S. Marines on Guadalcanal.
Normandy invasion on 0 - D a y HaSstrt Capi.Junt 6.1944

I l u - picture is o n e ot Capa's tew images ot the Allied invasion

that was vjved. Most o f the others were destroyed in a dark-
loom accident, t ' j p a sent a brief account o f his I)-L>av landing
experiences to L i l t : "1was going to Normandy on thii niee.cltMn
transport ship with i wut of the First Division. The food was good
and we played poker. Once 1 filled an inside straight hut 1 had four
nines against me. Then just before six o'clock we were lowered in our
i c v y and we started for the beach. It was rough and some of the
hoys were politely puking into piiperbags I always mid this was a
civilized invasion. We heard something popping around our hoat
hut nobody paid any attention. We got out of the hoat and started
wading and then 1 saw men falling and had to push past their
bodies. I said to myself', 'This it not to good.' I hidbehindsome tanks
that were firing on the hea. b. After JO minutes I suddenly realized
that the tanks were what the t iermam were shooting at, so 1 made
for the beach. I fell down next to a guy who locked at me and said,
'You knew what 1 see up there? I see my old mother niting on the
porch waving my insurance policy at me.''

lO,
 A Douglas SBD Dauntless dive b o m b e r
o v e r Wake Island
Charles Kerlee, l**4.i

Kcrlcc worked lor chc Naval Aviation Photographic

Unit, coated bv Rear Admiral Arthur VV. Radtord t o r
Edward Stcichcn alter the already famous photographer
tried to enlist in the U.S. Navy in l 4 2 . Despite some
u

general misgivings—Steuhen vva- 62 M the time—his

potential contribution as a photographer wa> undeniable.
The unit's mission was to diHiiment the activities o f the
aircraft carriers, and for the next lout vears Steuben and
hi- crew ol hand-puked pnifcssionals did just that,
focusing o n the sailors and showing the war in close-up.
Stcichen edited all the work, oversaw i t s pnnting and
released it to major magazines and newspapers.

London bomb damage

Cecil Beaton. 1940

Beaton was in his mid-.VlK when Britain declared war

on (iernuny in I W . With his contcmpofar ic- signing
up tor various regiments. Beaton lelt a- he wrote in
hi* diary—both Irmtratcd and ashamed. i H a w , *
far di I.an see. it something «/v.ifw designedto show up
-i\ inadequacy in e: eiy possible capa. ity I am too incompe-
tent to enlist a> a private in the aNK In any case my
repeat J tetiiieitt to join have met with. You(11he calledif
you''-. I >•>/;.- tned all so<t\ of voluntary job* m the

ntighfv,''J 'vtf.int organize food control, andthe distrib-

ution of •• . '. .hxldren from White:hafel I
ftUedmafru , uir> n after attending a course
given hy a hum . /..,/•>. m Salisbury'
Eventually Beat- • .it., the Ministry o f
Information and gi\ | ••!(,• 'ike photographs o f
"t nay dung." T h e pictures were used tor news and pro-
paganda pWpdaBlThe wax head \u t!i - photograph
wa* pan ol the debus ol a luudi* , • -i jhlishmenr.

too
 SL Paul's C a t h e d r a l
Jchn 'Hffium. Ofifmba 1940

fopham's photo ot the (licit Dome of St. Paul's

Cathedral during an incendian bomb attack diows the
Cathedral surrounded by the burning city of London.

Adolf Hitler and c o m p a n i o n s
Tim Gutal, 1929
Gidal was one ol" the European founders ot the
style ot photojournalism that blossomed in the
heyday ot pictorial magazines 1 Ii- earliest
images chronicled the temj<o n f life throughout
an increasingly unstable prewar Europe.
M a c A r t h u r l a n d i n g in t h e P h i l i p p i n e s
CarlMydam. 1945
'In January 1945 I was the only press photographer ahoani General Douglas
MacArthur'* command ship as he prepared to invade latzon, in the PbUtpptnes,'
said Mvdara. 7 was invited to go ashore with him As our landing craft neared
the beach. I saw that the Seahen had got there before us and had laid a pontoon
walkway outfrom the beach. As we headed tor it. I climbed the boat's ramp and
jumped onto the pontoons so that I could photograph MacArthur as he stepped
ashore. But I suddenly heard the boat's engines reversing and saw the boat rapid-
ly backing away I raced to the beach, run tome hundred yards along it and stood
waiting for the boat to come tome. When it did. it dropped its ramp in knee-deep
water, and I photographed MacArthur wading ashore No one I hate ever known
in public life had a better understanding of the drama and power of a picture.'
IOU
Coney Island
Hctm Cartier-Brruon. /Wo

C artier-Bresson Beveled rod States during 1946

and'47, phoiographn\ "or Ifarmer's: Bazaar.

Soviet soldier, off d u t y

Dmitri A r t K-/. / W . V

An oft-dun' Sovirt soldier amusing himself

in Vienna* Prater Part kessel. who mm bom
in Ukraine, served in the Red Arm* before
immigrating ti» the I 'ruted State* m 192V
Kevsel studied photograph* in New York and
specialized in industrial photograph* before
betiiming a phnto|oimiali*t.
M a r i n e s blow u p a c a v e c o n n e c t e d t o a J a p a n e s e b l o c k h o u s e o n Iwo J l m a W. Eugene Smith, 1945 Smith'* caption sheet was marked with

the hitter words. 'Sticks ami itonet, bits of human bones .. a blasting out on Iwojima*

F
tually. Smith wangled his way t o the Pacific as a
rom the U-giimiug. photojournalism
and human uirVcring h a w been linked, W. Eugene Smith correspondent tor Ziff-Davis Publishing. O n
the p o u n d he displayed the same reckless cour-
but no photographer e m b r a c e d the
age as his M a r i n e subjects at Saipan, ( J u a m
connection with more fervor tliau W . Eugene
and I w o j i m a ; his images were unequaled in
S m i t h : his e m p a t h y with h u m a n pain was
their proximity to violence and their human
rivaled only by his penortal embrace o t it. H e
intimacy- Smith was hit by mortar tire on O k i -
epitomized the photojournalist as suffering
nawa in 1 9 4 5 ; liis recovery took two years.
artist, unwilling to compromise with anyone
over his work. Relentlessly critical o f photo- In 1 9 4 7 Smith rejoined the stall" of L I F E ,

journalism's commercial roots and o f his own and over the next seven vcars perfected his torm

tcfaieVwients, he wia rsscdwith the notion of the L l F E photo essay, in which he strove to

o f imprinting another human's e x p e r i e n c e invest individual lives with iconic significance.

directIv into the con* • \w audsenoe. Despite his talent, he possessed a masochistic

B o m in Wichita. kans.i . i t son of critical streak and absolutely refused to take

a grain merchant who commits aba ity. Smith was fired tor retiising to use the type direction. After breaking with L I F E ovet the

the Depression. Smith started taking •f camera ordained bv his bos.. I le joined I.I f t use o f his photographs o f Albert Schweitzer.

for the Wicliiia Eagle and Beacon, then gnn i in 1 9 3 9 , then resigned, and in 1'MJJ was injured Smith began a round ot book-length pmjecrs in

tated tn New Von* City and landed a job while simulating battle conditions for I'auule. which he strove for complete control ot liis sub-

NmtUMflt I le quickly gained a reputation Em Krrping him out ot the naval aviation photog- ject maner. Bedeviled for years by drugs and

incessant perlcctionism and a thorny personal ;•! \ unit lortlied bv Kdwaid Sleiclien. Even- alcohol, he died in 1 9 7 8 after a massive stroke.
Wounded infant found by American s o l d i e r i!'/'-..•. •

The Marines were clearing out caves on Saipan where hundred* o fJapanese were hiding. Smith* cap-
tion on this photo: 'Thefirst live person that we found was a lixmg-dead' tmj infant that fad somehow
become lodged with fate straight down into the dirt ,id head almost cmcealrd by being wedged ursder the edge
a

of a rock... We had heard the tiny muffle,! cry and then had seen the bony body writhing, wtb its headaspivct'
The e a s t e r n front: Searching for loved ones at Kerch
Dmitri Balt.-i "i.i••!' 1t42

Abo known • Gl tha haunting scene ot ilte jltrrmath <>| j

Nazi retreat in ih<-^ • .it the Soviet I nion's mmt
tam-m- modem mugr •'- leading phototoi;fiia!i«tv
A* a correspondent t. T .' : Bahrnrunf* photographed thr
baifles tifM«i-..«iw JII.I "i i '•!•«• «t t IN.Iand
He wi.n it* ".Motion ibroad o n l y ."•*: a l°t>> traveling
exhibition. Halrrimants died in M.*n.iw in 1"*K).
Naples
Robert Cap*, October!. 1943

Crying mothers and other relatives hold up [-holographs ol

21) teenage partisans of the I aero Sanna/aro tn rhe Vomcro
district. The boy*, who were all killed, fought the (ienuans
during the tout days bctoir the Allies arrived in the city.

Murdered prison guard, Oachau

Lee Miller, / W i

Miller, who began her career a> a fashion model for Vogue,
became a protege ot Man Rav in l ' ' 2 . In 1942. when she
u

was working in Kngland as a fashion photographer, she

ftcCSfijC an accredited U.S. war correspondent. Miller
covered the siege of St. Malo and the liberation of |\in*.

I Icr photographs from Da.luu. the German concentration

camp, were accompanied by a cable to the editor ol British
Vogue: i I M P I O R I von t o u n I F vi T H I S I S T R I O .
European child
iXiti,/'~Chim"> Seymour, 1948

David ScvrntHir was one o f the co-loundcrs o f M a g n u m . During the

war he served in rhc U.S. A r m y in photo reconnaissance; he received a
medal for his work in American intelligence, hut lost both his parents
to the Nazi*. Afterward Scvinour -pent t w o vears working lor the
United Nations Educational, Scientific and Cultural Organization
(UNESCO). photographing the children who had suffered through the
war in Europe. This image of a distuihed girl in a Pilish institution,
standing before the frantic scribbles she made when a*kcd to draw a
picture o f her home. attc*t- to the devastation o f war.

The liberation of Buchenwald

Margaret Bourie-White. 194$

U.S. forces reached Bikhenwald on April 11. two hour* alter the
Nazis left. Margaret B o u r k e - W h i t e c a m e right behind. She later
wrote that using a camera "was afamt a relief. It interpose,/a slight
barrier between myself and the horror infront of me '
Returning p r i s o n e r of w a r I m t H a u !'*••'
:

In 1947 1 has' photos of ictuming P0WI were exhibited at American

Red Cross headquarters in Vienna. The ph. »n * were published in
ffnt** maga/ine two years later and were >ubscquenriy run in L I F E .
two J l m a Joe Rosenthal, Fthrwn \ 2

Tlii* IViht/er Prize-winning anics atop Mount Sunbachi was ongiiully rejected by L I F E
B C B S Q R , who thought it k) P u i l and others used it, however, and l a i c eventually followed

suit, even though it wa then th.it Rosenthal had lestaged the event Rosenthal denied that
he used an 8-toot by 4 i M replace the sm.rJIcr one that was planted tirst.
U.S. M a r i n e s In K o r e a David Dougla, Duncan, 1950. Duncan shared the burdens of this column o f M a r i n e - a- thev u-treated trom the frigid
Changjin Reservoir in December 1 9 5 0 . The decorated combat photographer chronicled rhe face o f contlicr trom W o r l d W a r II t o \'ietnam.
F or sheer physical courage and devotion
t o the subject o f war. David Douglas
D u n c a n has few p e a t . His photos o f
the Pacific front in World W a r II are among the
finest taken, a n d his picnires o t rhe Korean
"police action" arc considered to be the definitive
images of that thisb-ating stniggle. But D u n c a n
was more than o n e ol the worlds pre-eminent
war photographers. 1 lis search for broader scope
and control over his work helped define t h e
direction o f postwar photography.
B o r n in Kansas City, M i s s o u r i , in 1 9 1 6 .
Duncan studied archaeology at rhe University
ot Arizona. As an amateur photographer at col-
lege, he snapped a photo o n e dav in 1V.V4 that
accidentally included the famed gangster John
Dillinger. H i s news career was launched. H e
soon b e c a m e a roving photographer, but he
tound Ins H u e metici alter joining the Marines
in |943* H e invented a special device to take
David Douglas Duncan
aerial photographs on raids, as he hung under
the wing ot a P-.W fighter bomber in a »pceial
tank with a transparent. Plcxiglas nose. A m o n g
his many wartime decorations were nvo !>isrin-
guished R v i n g Crosses and the Puq>lc Heart.
I le brought the same degree o f dedication and
bravery to Korea, t h e agonizing cold war con-
flict that he capmrcd powerfully in t h e hook
7 * n Is War.'
Duncan's obsessive perfectionism—and his
distrcs* at t h e way photograph* were treated by
magazine editors—led him increasingly towaid
Iniok work, where he had m o r e autonomy. H e
resigned from I.IFF- in 1 9 5 5 to become a free-
lancer, and soon altci struck up an acquaintance
with Pablo Picasso T h e friendship generated
ten* o f t h o u s a n d s o f image* a n d n u m e r o u s
books. T h r o u g h o u t it all, D u n c a n remained a
war |«hotographer His I,IFF. essay. Indochina: All
but l.otr. rang d o w n t h e c u r t a i n on F r e n c h
i n v o l v e m e n t in V i e t n a m H e was soon t o
chronicle the I >.S. escalation m the same (utile
war. H i s blending o f photographic artistry and
.ut was recognized in \'>72, when the VVhitnev
M u s e u m o f American Art gave D u n c a n i t s
first-ever o n e - m a n show tor a photographer
The Japanese surrender ' W A / W r i t s . September 2.190

JJ; Vbahljin U t n e n signs the surrendet

ill" • i i 'he U.S.S. A/uwwri in Tokyo Bay while
Gcner-i I \ L . Arthur Ittoks o n .
 V - J D a y in T i m e s S q u a r e
Alfred Enemtaedt. August / J . /WS"

4
A jubilant vjilnr grabs ami kisses a pretty nurse as
thousand* jam the streets o f N e w York Cirv to
celebrate the long-awaited victory over Japan. This
clas&K plurfo, v*Tuih originally appeared in I.nr. has
c o m e to embody America'* j< n and relief at the end o f
World W a r II. Recalls Kiscnslaedt: 'People tell me that
when Im in beai<en, thex will remember lhi\ puiure"
At •!•» • Bikini h'n'n Go>% M7

Sailor .tionuc-homh t o t on Bikini atoll.

T h e w o r l d ' s f i r s t h y d r o g e n - f u s i o n b l a s t at E n l w e t o k
U.S. Air lone, 1952
V: NEW DIRECTIONS 1950-1980
T
he best photojournalism to emerge from W o r l d
W a r II and the Korean conflict were acknowledged
giants ol the craft, and their status was enhanced In
the intimacy ot their experience in combat. N o
commander could dream tor long ot excluding pho-
tojournalism from the hattletront (as commanders
routinely managed to do during W o r l d W a r I).
M o d e r n war demanded an enormous industrial
effort from the civilians at home. T h e surest way to d r u m up
popular support was to maintain a stcadv flow ot images trom
the battlefield to the builders o f Sherman tanks and the Inner-,
of war bonds. T h e result: photographers became participants en
masse in battle, an experience that took its toll. It was during
the war that the guardians o f the Pulitzer Prizes—daily jour-
nalism's highest self-appointed honors—recognized the impor-
tance o f the news photograph to their business hy adding the
photo category to their awards. (1 he first award actually did
not go to a combat photograph, hut to a Detroit A/<*^n picture
o f a picket-line battle at H e n r y lord's River Rouge plant, the
first-ever shutdown at the huge factor)'.)
By the dawn o f the 1950s, the photojournalist was monarch
o f all he surveyed. N o other medium challenged the status o f
the great picture magazines such as L I K E and Look. T h e pub-
lic thirsted tor their contents. T h e economic status ol the pho-
tojournalist also began to shitt tor the better. I he majority ot
news photographers remained the employees o f countless
newspapers and major press organizations, hut the 1947 found
ing ot the photographers' cooperative. M a g n u m , established
the revolutionary principle that picture takers should o w n the
rights to their work. (Previously, rights hclonged to whoever
had commissioned a project.) 7 he idea amounted to an eman-
cipation that ironically returned photojoumalists to their 19th
century roots as independent businessmen. T h e y were tree to
pursue projects and were beyond the immediate heck and call
ot editors. T h e y were also aware that their long-term w o r k
might produce long-term income.
Photojournalism could even claim a theoretical foundation,
which had its most cogent expression m the French photogra
pher I lenri Carrier-Bresson's ideal of the photographer as an
instant organi/er ot reality. Carrier-Bresson's meditation on
the subject. The Decisive Moment, published in 19S2. exerted a
Aerial view of s u b u r b a n Los Angeles /
profound influence on Iris peers and on the growing critical
c o m m u n i t y that acknowledged p h o t o j o u r n a l i s m — o r at least
the best o t it—as a special category ol photographic art. (In tin-
case o f Cartier-Bresson, one argument was that he was n o
photojournalist at all, but a s o c i a l case: an artist in his o w n
right.) T o Cartier-Bresson, photojournalism was something
o f a /.en act o f perception: T o me photography i s the s i m u l -
taneous recognition in a fraction ot a second . . . b o t h the fact
it sell and the rigorous organization ot visually [ K r c c i v c d torms
that give it meaning. It is putting one's head, o n e s e v e s and
one's heart on the same axis."
W i t h i n the decade, the postwar g l o w faded. T e n s i o n s ,
always latent, erupted between editors—who were text-ori-
ented, even at picture m a g a z i n e s — a n d some ot t h e m o r e
deeply committed photojoumalists over what to cover, and
why, and how. Kugene Smith, one ot the masters ot the L I F E
photo essay, bnike away from the magazine in 1954 to seek
what he felt were more profound forms o f expression. A t the
center o f his dissatisfaction was the crux o t the relationship
between the photographer and the picture magazine: t h e power
ot editor* over the cropping and selection o t pictures. S m i t h ,
whose perfectionism was legendary—as was his dark, obses-
sively critical streak—finally exploded over the editors' handling
o f a photoessay he had produced on the humanitarian doctor
A l b e r t Schweitzer at his hospital mission in L a m h a r e n e ,
French Kipiatorial Africa. After Smith quit, he spent nearly 20
years in obscure poverty, composing lengthy, obsessive m e d i -
tations on subjects like the cityscapc o f Pittsburgh, before
regaining popular acclaim with Minamata, h i s expose of indus-
trial mercury poisoning in Japan.
David Douglas Duncan was a much decorated hero ot the
Pacific front in W o r l d W a r I I . H i s photographs ot Korea,
published in book form as This Is War!, virtually defined that
ugly conflict. I le took his leave o f L I F E in 1955 to become a
free-lancer. Some o f Duncan's most widely hailed work there-
after—t lung, intimate I<n»k At the lile of Picasso at home in
Vauvcnargues, a g r o u n d - b r e a k i n g tour o f the K r e m l i n -
appeared in magazines like the Saturday Evening Post and
Look, but was intended from the beginning to appear in book
format. T h e increasing recourse to t x » k s was the photograph-
er's attempt to capitalize on work that had attained an inde-
pendent Vllue in the cultural marketplace. A b o v e all. the book
format offered the photojournalist an increase in scope, p<
A Mnwettzer W F.ugOi Smith, t9U
t o n a l c o n t r o l a n d intensity o t e m o t i o n a l tone that magazine q u e n t d e c a d e s w a s a m a n w h o essentially s p u m e d t h e m e d i u m ,
publication could not m a t c h . c r e a t i n g w h a t m i g h t IK- c a l l e d a n t i - p h o t o j o u r n a l i s m . Swiss-

A s a vanguard minority began to tlec from the m a s s press, b o r n R u b e n F r a n k s a i d o f h i s o w n w o r k t h a t h e w a n t e d Bp

t h e v t h r e w u p a w a v e o t c r i t i c i s m a b o u t t h e failures o f n e w s p r o d u c e i m a g e s t h a t w o u l d m a k e "all e x p l a n a t i o n s u n n e c e s -

p h o t o g r a p h y in g e n e r a l . T h e p o w e r o f p h o t o j o u r n a l i s m had sary." In o t h e r w o r d s , abolish t h e necessity tor text.

a l w a y s d e r i v e d f r o m its a u r a o f f a c t u a l i t y , w h i c h f r o m t h e v e r y F r a n k k n e w photojournalism from t h e inside. H e worked

b e g i n n i n g , in t h e d a y s o f B r a d y a n d O ' S u l l i v a n , h a d b e e n a for Harper's Uazaar'm the 1 9 4 0 s , tor L I F E and F O R T U N E in t h e
s l i g h t l y e m b r o i d e r e d t r u t h . In t h e v i e w o f p o s t w a r d i s s i d e n t s '50s. At F O R T U N E , h e o c c a s i o n a l l y w o r k e d in c l o s e c o l l a b o r a -
like E u g e n e S m i t h , t h e t a c t u a l i m p a c t o t p h o t o g r a p h y had tion wiih the c a n t a n k e r o u s W a l k e r F v a n s . w h o shared Ins
b e e n u n d e r m i n e d by o v e r p r o d u c t i o n and by the sheer banal antipathy t o the great industry o f press photography. ( K v a n s
iry o t w h a t w a s o v e r p r o d u c e d . w r o t e t h e t e x t f o r o n e F r a n k pOStfbbo in F O R T U N E , a railway
study called The Congressional.) Liberated from commercial
Continuous wire-service transmission, the insatiable
w o r k by a G u g g e n h e i m fellowship, F r a n k toured t h e United
a p p e t i t e o f t h e daily p r e s s for r e p e t i t i v e i m a g e s o f m e a n i n g l e s s
States for t w o years, assembling the images that eventually
local events, t h e p e a c e t i m e r e t u r n to m a n a g e d news events
a p p e a r e d in E u r o p e in his 1VSS b o o k , TheAmericans.
( p o l i t i c a l c a m p a i g n s b e i n g t h e n as n o w t h e p a r a m o u n t e x a m -
ple) a n d the t r i u m p h ot c o n s u m e r e u l m r c , a c c o m p a n i e d by F r a n k l a t e r d e s c r i b e d h i s j o u r n e y : "1 h a d n e v e r t r a v e l e d
t h e r e l e n t l e s s p h o t o a d v e r t i s i n g o f its w a r e s , c o v e r e d t h e w o r l d t h r o u g h t h e c o u n t r y . I saw s o m e t h i n g that w a s h i d d e n and
with p h o t o g r a p h s leached o f their expressiveness and meaning. t h r e a t e n i n g . . . v o u felt n o t e n d e r n e s s . " T h a t s e n s i b i l i t y w a s
A s S m i t h bleakly said, " W c are d e l u g e d w i t h p h o t o g r a p h y at c a p t u r e d in t h e w o r k . T h e d a r k , h a r s h , e n i g m a t i c i m a g e s p r e -
its w o r s t — u n t i l t h e d r o n e o f s u p e r f i c i a l i t y t h r e a t e n s t o n u m b sented a vision ot the U n i t e d Slates p o p u l a t e d with h a r d e n e d ,
o u r sensitivity to i m a g e . " O n e ot S m i t h ' s a d m i r e r s , Lincoln w a r y , b o r e d a n d e n e r v a t e d i n d i v i d u a l s , c a u g h t in d e l i b e r a t e l y
Kirstcin, put an even sharper e d g e o n the condemnation. e n i g m a t i c fashion while c o n t e m p l a t i n g the BSpCCtl o f everyday
" D o m i n a t e d by a c o n d i g n conspiracy between m a s s media, living t h a t h e l d t h e m c a p t i v e . T h e v w e r e t h e a n t i t h e s i s o t t h e
coffcc-tablc publishing, luxury advertising and competitive c o u n t r y ' s o p t i m i s t i c s e l f - i m a g e . Frank's subversive p h o t o g r a p h s
c u r a t o r s , " he w r o t e , " p h o t o g r a p h y since the K o r e a n W a r has had n o point beyond themselves; they were the point. T h e y
declined into ferocious overexposure." flew in t h e f a c e o t a c a n o n o t n e w s p h o t o g r a p h y : t h e p r i m a c y
o f events. F r a n k carefully c o m p o s e d his p h o t o g r a p h s t o avoid
T h e o u t r a g e in t h e d i s s i d e n t c a m p w a s b a s e d o n t h e c o n -
t h e k i n d o f c l a r i t y e s p o u s e d by C a r r i e r - B r e s s o n ; h e m a d e h i s
viction that t h e a c t u a l i t y o t picture taking and t h e truth the
s t a t e m e n t b v p h o t o g r a p h i c i n d i r e c t i o n . The Americans created
picture was i n t e n d e d to r e p r e s e n t — t h e m e a n i n g ot the e v e n t —
a furor, a n d it t o o k a n o t h e r y e a r t o r t h e h o o k t o find a p u b l i s h -
h a d b e c o m e s e p a r a t e tit t h e w o r l d o f m a s s i m a g e s . T h i s w a s ,
e r in t h e U n i t e d S t a t e s . F r a n k h a d a c h i e v e d h i s a i m : a l t e r The
w i t h o u t d o u b t , a n e l i t i s t v i e w : t h e p r i v a t e vision o f t h e p h o -
Americans h e w a s n e v e r t a k e n t o r a p h o i o j o u m a l i s t a g a i n , b u t by
t o g r a p h e r versus t h e view ot t h e w o r l d he was forced to d e p i c t .
t h e 19ot>s. his i n f l u e n c e s b e g a n t o d o m i n a t e t h e m e d i u m .
I n e s s e n c e it w a s a n a r t i s t ' s p o s i t i o n ( w h i c h m a d e it d o u b l y
appealing t o m a n y photographers, whose mechanical m e a n s of
A t the same time thai F r a n k was working to u n d e r m i n e the
e x p r e s s i o n w e r e still v i e w e d w i t h s u s p i c i o n in t h e a n w o r l d ) .
n o t i o n o f t h e e v e n t , a n d e v e n t h e i n d i v i d u a l , as a f o c u s for

B u t t h e idea t h a t p h o t o j o u r n a l i s m r e p r e s e n t e d a k i n d o f h i g h - n e w s , p h o t o j o u r n a l i s m c o n t i n u e d t o e x p a n d its frontiers. In the

e r t r u t h r e m a i n e d q u e s t i o n a b l e , b e c a u s e in f a c t t h e m e d i u m b l a n d n c s s ot the p o s t w a r years, p h o t o g r a p h e r s t u r n e d their

w a s r e a c h i n g s o m e o f its m o r e o b v i o u s l i m i t s . J o h n S z a r k o w s - vision o n the c o r p o r a t i o n a n d t h e suburb. N o m a g a z i n e w a s

ki, c u r a t o r o t p h o t o g r a p h y at N e w Y o r k C i t y ' s M u s e u m ot m o r e p m l i t i c o r m o r e a d e p t in e x p l o r i n g t h a t r e a l m t h a n F O R -

M o d e r n A n , has n o t e d t h a t t h e v e r y r e i x - t i t i v e n e s s t h a t S m i t h T U N E , a n d n o p h o t o g r a p h e r m o r e skillfully b a r e d t h e s o u l o t

d e c r i e d is p a r t o t t h e n a t u r e o t p h o t o j o u r n a l i s m . A s S/arkows- t h e c o n s u m e r society t h a n D a n W c i n c r . A veteran ot t h e lelt-

ki e x p r e s s e d it, " W e m i g h t l o o k at it n o t m e r e l y for w h a t it tells w i n g N e w Y o r k P h o t o L e a g u e . W c i n c r h a d a l a t e n t for reduc-

us t h a t is n e w . b u t f o r t h e w a v s t h a t it describes: t o r u s o v e r a n d ing the complexities and contradictions o f c o n s u m e r i s m to

o v e r a g a i n , w i t h s u b t l e but c o n s t a n t v a r i a t i o n , t h o s e t e w s i m p l e jarring h u m a n portraits taken with c a n d i d naturalness: t h e

a n d e n d u r i n g h u m a n issues t h a t t h e m e d i u m o t p h o t o g r a p h y p r e d a t o r y face o f a d e t e r g e n t s a l e s m a n w a g i n g supermarket

has learned to c o p e with." s h e l f wars; a fashion s h o w on a c o m m u t e r train. W c i n c r c a p -

t u r e d t h e s t r a t e g e m s , martial discipline a m i artifice that u n d e r -
Nonetheless, the frustration o f the photographic vanguard
pinned mass-produced A m e r i c a . B e f o r e h e d i e d in a 1959
w a s r e a l . T h u s p e r h a p s it w a s u n a v o i d a b l e , a n d e v e n n e c e s s a r y ,
plane crash, W e i n c r spread the news ot the U n i t e d State-
t h a t the m o s t i n f l u e n t i a l f i g u r e in n e w s p h o t o g r a p h y in s u b s e -
Anti-busing d e m o n s t r a t i o n in B o s t o n Stanley Formal
t r a n s f o r m i n g itself n o loss d r a m a t i c a l l y t h a n in t h e g r e a t e r a o f
d a m - a n d w a t e r w a y - b u i l d i n g in t h e ' 3 0 s .
A n o t h e r realitv o f t h e ' 5 0 s w a s m o r e difficult t o b r i n g t o
light: the plight of b l a c k A m e r i c a . A s t h e civil right-, m o v e m e n t
g e s r a t e d in S o u t h e r n b l a c k c h u r c h e s , m o s t U . S . p u b l i c a t i o n s
t o o k little n o t i c e . T h e r e w e r e , o f c o u r s e , e x c e p t i o n s . T h e b l a -
tantly Contradictor)' nature ol segregation did not escape the
a t t e n t i o n o l M a g n u m ' s E l l i o t E r w i t t , m o r e r e n o w n e d for his
puckish snapshots o f the h u m a n c o m e d v . O t h e r w h i t e p h o -
t o g r a p h e r s , like Klip S c h u l k e , p e r s e v e r e d by c o n t r a c t i n g w i t h
b l a c k - o w n e d Flhony a n d Jet magazines. W i t h the deployment
o| t r o o p s in L i t t l e R o c k in 1 9 5 7 a n d t h e rise o f civil d i s o b e d i -
e n c e , the work o f Schulke, L e o n a r d Freed and o t h e r s , includ
ing W e i n e r , r e c e i v e d w i d e r e x p o s u r e . S o m e o f t h e m o s t h a u n t -
•tographs 01 y o u t h f u l b l a c k n i h i l i s m a n d d e s p a i r in t h e
in ulcer t h a t w o u l d n o t p e r f o r a t e for a n o t h e r d e c a d e —
I young HL.uk p h o t o g r a p h e r n a m e d Gordon
_ of t h e r e d o u b t a b l e R o y S t r y Iter. P a r k s
HIRI ;FE a n d was dispatched to Paris. 1 le returned
t o follow a M I I ;ang through the H a r l e m ghetto and intro-
duced L i f L readers to M a l c o l m X , Elijah M u h a m m a d and the
Nation ol Islam.
In 195-1 Robert Capa was killed bv a land m i n e at T h a i
B i n h , as one I n d t x h i n a war ended and another began. T h e
event marked (he e n d ol an age: E u r o p e entered the era of
decolonization, and the U n i t e d S t a t e s emerged as a kind o f
global p o l i c e m a n . W i t h the e n t h r a l l i n g arrival o f the
Kennedys, American rournalism finally decided that the W h i t e
I louse was worthy ot full-time coverage: with C a m e l o t c a m e
the court photographer. In 1 9 6 3 , as events darkened for the
U n i t e d States at h o m e and abroad, it seemed that photojour-
nalism had regained some o f its tragic power, a power based
more than ever on the accurate reflection o f s o m b e r events.
T h e A.P.'s M a l c o l m B r o w n e methodically photographed a
Buddhist m o n k burning h i m s e l f t o death in a Saigon protest.
A Dallas Tima-Herahl photographer caught the instant o f
L e e Harvey Oswald's death.
S o did television. A latent threat to the press since its first
practical demonstration in 1 9 2 9 , the electronic medium had, by
the ' 6 0 s , systematically undercut the prosperity o f the picture
m a g a z i n e s . Collier's e x p i r e d i n 1 9 5 7 ; t h e Picture Post i n t h e
f o l l o w i n g y e a r . Look v a n i s h e d i n 1 9 7 2 . L I K E suspended publi-
c a t i o n t h a t s a m e \x-ar. T e l e v i s i o n t o o k a w a y t h e n a t i o n a l a d v e r -
tising m a r k e t s that t h e picrure m a g a z i n e s , as m a s s - c i r c u l a t i o n
m e d i a , h a d e n j o y e d . A t t h e s a m e t i m e , television n e w s n i b b e d
t h e picture press o f its m o n o p o l y o n presence a n d i m m e d i a c y .
W i t h its m o b i l e i m a g e s a n d s o u n d t r a c k , television w a s simply
a b l e t o p r o v i d e a m o r e vivid s e n s e o t n e w s e v e n t s .
N e w * p h o t o g r a p h y s u r r e n d e r e d its p r e - e m i n e n t p l a c e a s a
m o v e r o f m a s s public o p i n i o n in V i e t n a m . It also d i s c o v e r e d —
or rediscovered—a different kind o t e m o t i o n a l intensity, based
o n w h a t television c o u l d n o t d o . Television d i d n o t linger well,
n o r c o u l d it amplify' a n e m o t i o n a l e f f e c t b y p a s s i n g a n d r e p a s s -
ing across t h e s a m e subject from subtly differing angles. T h a t
kind o f television n e w s w a s simply b o r i n g . I n V i e t n a m , t h e r e -
fore, p h o t o g r a p h y t o o k o n a kind o t m e d i t a t i v e a u t h o r i t y , in
lengthy, o f t e n ferociously p o i n t e d essays o n t h e devastation
a n d senselessness o f the conflict. N o p h o t o g r a p h e r w a s m o r e
A B u d d h i s t m o n k b u r n s h i m s e l f t o d e a t h t o p r o t e s t t h e Diem g o v e r n m e n t tn S o u t h V i e t n a m Malcolm J
s a v a g e i n his c r i t i q u e o f t h e A m e r i c a n i n v o l v e m e n t t h a n P h i l l i p
Jones Griffiths, the W e l s h - b o m M a g n u m photographer w h o s e
b o o k , Vietnam Inc., w a s p u b l i s h e d i n 1 9 7 1 . N o o n e w a s less
s q u e a m i s h o r m o r e m e t i c u l o u s in r e c o r d i n g t h e c o n l l i c t ' s p h y s -
ical h o r r o r t h a n D o n M c C u l l i n o f t h e Sunday Times o f L o n -
d o n , a n d p e r h a p s n o o n e m a n a g e d t o c a t c h as m a n y o f t h e
war's individual m o m e n t s o f h e r o i s m and despair a s L a r r y
B u r r o w s o f L I F E , w h o d i e d in a 1 9 7 1 h e l i c o p t e r c r a s h while
covering t h e S o u t h V i e t n a m e s e invasion o t L a o s .
V i e t n a m w a s a n i m m e n s e drain o n the nation's military,
political, e c o n o m i c a n d journalistic resources. A s t h e w a r p r o -
g r e s s e d i n A s i a a n d at h o m e , U . S . p u b l i c a t i o n s c e d e d c o v e r a g e
e l s e w h e r e in t h e w o r l d t o n e w l y t o r m c d , p r e d o m i n a n t l y F r e n c h
news agencies: G a m m a , S y g m a , C o n t a c t Press Images. O n c e
a g a i n , P a r i s e m e r g e d a s a g r e a t c e n t e r o f p h o t o j o u r n a l i s m , a s it
had been before W o r l d W a r II. W i t h the death o f the A m e r -
ican picture magazines, the new, fast-moving agencies sold
t h e i r w a r e s t o t h e p u b l i c a t i o n s t h a t fdled t h e v o i d : t h e A m e r -
kail n e w s w e e k l i e s . L e d b] I 'it i n d Newswtek, news-
n u g a z i m ^ g r a d u a l l y s h i f t v d dw b a l a n c e i n t h e i r e m ' c r a g e :<• >m
a heavy reliance o n n i i n e a r e r illustration. I t w a s only

toward t h e e n d of the decade* however, thai the news-

m a g a z i n e s devel- h n t i l u g y h>i p r i n t i n g c o l o r p h o t o s
as quicklv as h i . vhite, bringing the m a g a z i n e s into
t h e MUne I ' ' I visual r e a l m a s t e l e v i s i o n .

Tclcwr • w h i c h h a d killed o n o n e gencratiiMi o t p i c t o r i a l

m a g a z i n e s , became t h e s p o n s o r o f a n o t h e r . I n m o v i n g to
a r e a t a ! pictorial c o v e r a g e , t h e newsweeklies w e r e following
t h e l e a d o f t h e m a g a z i n e t h a t h a i l f a t t e n e d m o s t o f f t h e rise o f
television: S P O R T S I L L U S T R A T E D . H e n r y L u c e ' s weekly sports
m a g a z i n e — s o m e t i m e s r e f e r r e d t o i r o n i c a l l y as "1 l a r r v ' s y a c h t "
in t h e p r o f i t l e s s y e a r , a f t e r i t s 1 9 5 4 f o u n d i n g — s h o w e d t h a t
television c o u l d c r e a t e interest in n e w s p h o t o g r a p h y as well a -
kill it. I n .i s u b t l e hut t a r - r e a c h i n g c h a n g e in t h e i r p h i l o s o p h y
n e w s w c c k l y e d i t o r s c a m e t o a g r e e t h a t n e w s [^holography, p i g
g y h a c k i n g o n t h e interest created b y television, g a v e a d d e d
luster t o their s a c r o s a n c t t e x t . N e w s p h o t o g r a p h y got a r e n e w e d
l e a s e o n life, b u t o n e m w h i c h t h e p r e s e n t a t i o n o f r c a l i t v w a s
increasingly conditioned by t h e electronic m e d i u m . M o s t d r a
maticallv, t h e n e w symbiosis with v i d e o forced photographer*-
t o a d a p t t o t h e w o r l d of c o l o r t e l e v i s i o n b y u s i n g h j g h Ipccd
c o l o r film a s a s t a n d a r d p r a c t i c e . F o r m a n y t r a d i t i o n a l i s t s , c o l o r
m a r k e d a final c a p i t u l a t i o n t o t h e sU|»erficial v a l u e s o f " t h e
lobe. If a n y t h i n g , t h e t a s k o t n e w s p h o t o g r a p h ) l i e c a m e m o r e
d e m a n d i n g . l*or a y o u n g e r g e n e r a t i o n o f p h o t o j o u r n a l i s t s , t h e
raw i m m e d i a c y of t h e news n o w d e m a n d e d c o l o r — n o t to
m a k e their images c o n f o r m t o television hut to stand out
a g a i n s t its visual c a c o p h o n y .

S o u t h of t h e D M Z , S o u t h V i e t n a m Larry Harrow
A r a d i a t i o n s h e l t e r In G a r d e n C i t y , L o n g I s l a n d
Walter Sanden. 1954

S o powerful was the ethos ot normalcy in the l 5 0 s u

that every cllort was made to convey the impression

that an undisturbed family life could be pursued in an
atom bomb shelter.

Test m a n n e q u i n s at an a t o m b o m b site
/"".•: Dean, 1955

A consrant preoccupation o f the early atomic years

was imagining the effects o f a nuclear blast. T h e s e
dummies at a test site in Yucca H a t . Nevada, were
used to gauge what was only t«xi easv to imagine: the
impact a blast might have o n the human bodv.

Opposite page:

Fashion s h o w a b o a r d a New York

c o m m u t e r t r a i n /».•• ;i;•.-;,•». y/J>t

Alter the grim war year-, photographers like W e i n c r

turned their cameras on the battlefield* o f b u s i n o -
aml marketing as the nation luppilv transformed
itselt into a consumer society
Albert Einstein
Throughout In* long m r c r , H a h n u n devoted himself almo-r
entirely t o portraiture. O c c a u o n a l l v he r r t o r t c d t o elaborate
n c n o , a * in hi* famous portrait o t S a l v a d o r D a l i m the nmhr ol
flying c a t s and a spray o l water I l e o f t e n ask*.! h i - subirtt* t o
allou ;i t o take one picture of them jumping in tin: air. Most-
ly he Wl (i ' *o let the f a i r alone he the lot. us o f attention.
A J a p a n e s e i n d u s t r i a l i s t in r e p o s e Hill Raw 19rj4
A* Japan emerged trom the war. interest in it*
personalities and institutions grew among Americans.
Konosukc MlWUthiu was a businessman, publisher
and author I le liked to take dailv walk.* in die garden
ol a philosophical institute he had founded in Kyoto.
~ . . . aH
G e n e r a l D o u g l a s M a c A r t h u r In K o r e a
Carl Mydans. 19SO

MacArthur w u i soldier with a showman's

senve of how to cultivate his own celcbrity.
M v d i m mode a number of memorable
pictures of the general: particularly famous
w u the *hot of hi* return to the Philippines.
This rough-guy portrait appeared not long
before MacArthur'* downfall, when
President Truman recalled him for his
unwillingness to follow Truman's order* to
restrict the war to Korea.

C h r i s t m a s In K o r e a David Dourttu Duma

Along with Mvdam. Duncan became the great chronicler ol the Korean
War. He made thi* picture as part of a classic photo essay on the suffering
of a column of Marines that appeared in a holiday issue ot I n r. The men
fought their way from the C'hangjin Reservoir to a haven on the Sea o f
Japan, much of the time under heavy fire from the nearby hills.
 P i c a s s o in his s t u d i o
Davul Douglas Duncan, I'M)

Pi.asso become one ot the most recognizable artists

ot the century, partly because o f the many pictures o f
him published in the press. For a numlxrr o f vears
Duncan was, in effect. Picasso's court photographer,
following him constantly with I camera.

A l b e r t o G i a c o m e t t i at w o r k in h i s P a r i s s t u d i o
llenn G*rtkr*Brmam\ I960

Carrier-Bresson's great strength in hi* many portraits

o : artist- and writers was his gift for conveying some
quality ol the subject's work iti the likenes-. Here
he has photographed the lean, serious Giacometti
looking much like one o f his own sculptures.
S a m m y D a v i s J r . in N e w York C i t y
Hurt Glxnn. 1959

In this portrait of D a w , Magi mm photographer

Glinn set the emerging star in an atmosphere drawn
from downbeat photography of city life. It was j style
common to the '50s.

J a m e s D e a n in T i m e s S q u a r e
Derma Stcek. 1955

By the mid-P'SOs. the traditional Hollywood glamour

shot began to give way somewhat to a mivxiier *ryk-
that reflected the influciwe ot postwar urban social
documentary It also suited rhe intake •! • \ \>-w
generation of actors like Marlon Branilo, Paul
Newman and James Dean Inevitably, the darker kind
of pOrtNfcM pioJuced a new category o f glamour,
the glamour of alienation.
Illegal i m m i g r a n t s await d e p o r t a t i o n
l.oomn / V J H . 19S1

Dean took this pKturc at the border patrol iail at

C a l r x u o , California, a* parr o f an e^sav on Mexicans

who traveled T . - n h into the United States to tit id

work. T h e group heir, some o f whom had walked 5 0
a u k s a a o o the dc*ert *.* irh bide food and inadequate

•}-.• - -. was to he -.

Mexican w o m a n a n d h e r d a u g h t e r m a k i n g t o r t i l l a s
Uotmnt MComJv, 1910

I 'mil he retired in 197% M c C o m b c M one o f I a r t ' s great

photographer- and photo essayist*. H e use* the shaft ol light
falling from the left in the same way the 17th century Dutch
pamtei Vermcer used it when painting domestic interiors
The murder of Lee Harvey Oswald
Robert fat ben, /Vftl

On the day More President John K Kenncdv's funeral,

just two davi alter he waa gunned down. Dallas
night-club o p e r i t ' f Jack Rub* shot and lulled Kenneth's
accused a>*as?ii: I c WM hemi" Transferred to the county
jail from the Dai la 1
- L M H I , a ; 11 •'• >_jraprwi
t h e Dallas Timet it'- ' : a second picture
immediately alter this ocx i v o n the Pulir/er
Prize), but his clcctroni.- tla-h..
C o m m u t e r s on a t r a i n t o S t a m f o r d . C o n n e c t i c u t ( . vfvaam, 1963

Mvd.ms' picmre i»f the nation absorbed by the news ot the Kennedy assassination captures

a truih about the climate o f that event. For a tew days, t h e news was everything.

Children with toy gun

HvwarJ Soihurek, 1953

Sochurek's picture, from a photo essay called

"Prairie Country," anticipated the 'kewed
composition, fragmented c l e m e n t ' and
disconcerting moods that photographers like G a r r y
W i n o g r a n d and Lee Fnedlandcr were to c a m - into
the art world during the following decade.
 A f t e r t h e m a s s a c r e o f s t u d e n t s at K e n t S t a t e U n i v e r s i t y
John PaulFUo. 1970

IT.is Pulit/cr Prize-winning picture is another o f the quintessential

R o b e r t F. K e n n e d y a f t e r h e w a s s h o t
images from the wars o t student protest. A voting woman kneeU
BUI Eppridge, 1968
beside the body o f one o f four students killed in a 13-second

Kennedy w i s shot twice in the head by Sirhan Sirhan barrage o f b u l l e t s t i r e d by troop* of" the O h i o National Guard

within minutes o f claiming victory in the crucial Doting dcmonsrratKMW t o protest the VS. invasion o f C a m b o d i a ,

California primary. After giving a triumphant speech troops a r m e d with live ammunition were vent to the campus bv

in the ballroom ol the Ambassador Hotel in L o s O h i o Governor J a m e s Rhode* Because no one expected the

Angeles, Kennedy cut through the kitchen on the demonstration to become a major story, no publication^ had

way to meet the press. Sirhan was waiting tor him assigned photographers to cover it. Filo was a student photographer

there. Eppndge's picture o f Kennedy being supported on the campu* yearbook start' I le took thi* picture to a local

bv a biubov whose hand he had just shaken became newspaper, which sent it out nationally over the AP wire.

the picta of the late 1960*.

" Win / got to the kitchen. I beard a series of shots"

Eppridgc said. " The crowd par ted for a second, and I M t t
Kennedy lying on the floor, and I went to work."
 Harlem
l^eonard Freed. 1963

Another veteran o f the civil right* movement. Freed,

i M a g n u m photographer, was drawn to coverage ot"
the Anient an black ctnnrnunirv In 1964 and 1 % 5 .
he traveled the country t'<i a photo study ot race
relatmns. whu h he published in 1 9 6 9 under the title
Bluet in WhSt Amerkm.

M u h a m m a d AM
Cordon Parts, 1966

Gordon Parks has had one o f the most varied career*

of any photojournalist. After contributing to the Farm
Sevunnes Administration project ot* the 1 9 4 0 * . h e
served as a start photographer for l . n i .An author and
composer as well. Parks became a film director in the
1 9 7 0 * and is best known tor his movie Shuft

A t e n e m e n t In N e w Y o r k C i t y
Bn*e Duiidson, 1970

Davidson chronicled the life o t s i n g l e block

m I larlein in his book East 100th Street I lis
later pictures relied even more on mtiod and
psveh«4ogv. rather t h a n o n t h e depiction o f
specific events, to give a sense o f lite in the city.
 A m a r c h f o r i n t e g r a t i o n in S e l m a , A l a b a m a
JmmaH A'.Wci, I9b8

Coverage o f the civil rights movement was similar in

many respects to t h e coverage o f war, not merely because
so many ol the photographers who followed the
movement were veterans ot" World W a r II and Korea.
T h e civil right* struggle offered scenes o f carnage, hut
also moments o f courage, victory and jubilation.

South Carolina
Briht Davidson. 1962

Davidson >aiue lit prominence as a chronicler ol the civil

right* movement. Later he turned to book-length
projects, including hi* study o t Harlem, Ea*t 100th Street.
Books allowed Davidson to explore a subject m gteater
depth than was possible on a magazine assignment.
T h e B e a t l e s in t h e s w i m m i n g p o o l o f a
Miami Beach Hotel
John J j V M g n j l^ftj

"Ilie Beatles first arrived in the United States early

in 1 9 6 4 , where they found a public grateful tor the
opportunity to shake off the gloom Uiat had set in
after the assassination ot John F Kennedy. T h e
Beatles were wittv, spontaneous and eager cutups
f o r the camera.

C l a r k Gable. V a n Heflin. G a r y C o o p e r
and J i m m y Stewart
Slim Aarow. 1957

T h e golden age o f Hollywood studios was nearly

over, but tor a m o m e n t one might not realize
it looking at this picture o f a New Year's Eve
celebration .it Romanoff's restaurant.
Marilyn Monroe U . 1954

Mi - i'- • !•'••> i r n c o f t h e m o s t p h o t o g r a p h e d w o m e n o f " t i n - l S O s . a m a g n e t w h o d r e w

u

all «hit m i x e d f e e l i n g * a b o u t t h e media"* d r p u t i o n o l w o m e n a n d t h e p e r s o n a ! p r k e o l f a m e .

T h i s t a m o o o p i v t u r r o f t h e star d e a l i n g w i t h a n u p d t a t t t t o m a M.bwa* g r a n n g a n d ir.
c l c i t t u b l o w e r - w a s m a d e in N e w Y o r k C i t y d u r i n g t h e *h«ioting o f The Sexm-Yea* fob
 Children watching a puppet show
AlfredEisemtaedt. 1963

F.isenvtaedt was famous for pointing his

camera away trom the action on center
stage to discover the surprises to be
found in the unexpected angle. In this
picture o f children watching the dragon
being slain during a puppet show in a
Paris park, he made an enduring image
that appears t o sum up all the pleasures
nl the act ol seeing itself.

Marcel Marceau
GjonMili, 1955

MUi's specialty was pictures in which figures o f light

were rescued from the deepest darkness, like this
portrait o f the French m i m e . Marcel Marceau. A
former lighting engineer for Wcstinghouse, Mill
made revolutionary use o f the strobe light to get
motion effects on film. H i s knowledge ot electronic
equipment enabled him to produce unique
photographs ot sport, theater and ilancc.

Jackie Robinson steals h o m e base

Ralph Mont. 1955

Robinsons gift for stealing bases was apparent from

the time he became the first black player in the major
leagues in 1947. T o make this picture, taken at Ebbets
Field in Brooklyn during the 1 9 5 5 W o r l d Series that
pitted the Dodgers against the Yankees. Morse had a
camera aimed down the third-base line that he oper-
ated with a foot switch. T h a t lett Ins hands free to
hold a second camera for shots of other plays.
A n o l d w o m a n in a i . •oorhouse
Wallace KirklanJ, 1952

This picture o f a woman gazing at ;hc di ill m a t is her

.mil- itot.esMon was a departure tor Kirkkmd. H e was best
known JS a nature photographer with the patience to
spend nearly tlircc weeks hidden under a bale of hay to
get a picture o f a barn owl bringing a mouse to its young.
A child imitates the e x p r e s s i o n of his
baby-sitter
Laniir,! \UComhf. 1957

Not all photojournalism consisted o f news pictures

or cclebnty shots. In the 1 9 5 0 s many photographer*

went after the pfcaauigj o f everyday life.

In an insane a s y l u m , Turin. Italy

RuywfiJ LJepjrJon. 1979

Drpardon helped revolutionize the idea ot a news

photo agency when he founded G a m m a in the late
19b0s. H i s agency offered photographers a 5 0 percent
. o m m i s s H m on tlieir p c t u r e * . gave them the copyright
and added their name t o the agenev's on the photo
credit G a m m a picnires established a reputation lor
toughness, potilkal passu>n and aesthetic daring.
S t r e e t e x e c u t i o n ol a Viet c o n y p r i s o n e r 1961

For many American* certain p h o t o g T i p h * c a m e to symbolize the brutality ol the Vietnam War.
O n e was Adams' picture o f a South Vietnamese police d u e l . Colonel Nguyen Ngoc laxtn,
;
• • • . a Vietcong prisoner in the head at point blank range in the streets a Saigon. It was in
the midst at the wild street fighting during the Tet offensive, when the Vietcong were sweeping
thntugh the cities t»t South \'ietnam. T h e picture won a 1°tW Pulitzer INizc for Adams, who took
it tor the Associated PreM. Immcally, he later became a friend ol Loan's and • ••> i atteinpted to
explain the context lor the brutal a.t that rhe picture a l o n e could not provide: Vietcong guerrillas
l u d reccntU massacred a South Vietnamese colonel, his wife and *ix children in their home.
Lieutenant Colonel Robert Stirm
r e t u r n s h o m e .SV "*'(/*•». 197 I

A n Air For.e ot riser. Stirm had been shut down

over North Vietnam in 1%7. Like many cit the
most striking photo* ot t h e Vietnam W a t year-,
this picture wa* n o t t h e result o t a length)
assignment, but rather a quick "grab shot* by
an A P photographer. Bunt of Joy, a * it is also
known, won a Pulii/er Pri/e.

Children fleeing an A m e r i c a n n a p a l m
s t r i k e Huynh Cong ftfak) Ut, 1972

A group ol terrified children runs down a

highway near Trang Hang. T h e gill in t h e middle
had ripped ••II her napalm burned clothing.
T h i s Puhryer P n / e winner wa* salted a take by
U . S . General William Westmoreland, who
suggested tlie girl in the picture had been burned
"in J fafra.h\ tUiiJent"
A m a d w o m a n In a Haitian clinic
W. Eugene Smith. 1958

Though many phntnjnurnalists arc uneasy about

darkroom ui.ii.i; .il.it i o n s • :1K prinr. Smith Iclt that m e n

effects could emphasize psychological truths, r o r tin -

photograph he Quia n 1
the background and whitened
the woman's eyes "to w.h< ii/<- the inner emotions that were
going on at that time." luitutv the series* o f pictures he
took at the clinic were not widely teen. T h e y were not
published until two years after the)' were taken, and then
onh in a small-circulation medical magazine
S p a n i s h w o m e n In m o u r n i n g if 'Ettgtn ' t9$Q

T h e old man had died ot gangrene poisoning; in the foreground are his wile, gianddaughter

m d daughter, BeCNUK the room was lit hy a single candle, tliis was o n e o! the rare occa-ion-
when Smith used a llash. H e paused t o n u k e just three exposures. " W W T having utida word."

ft y o u n g w o m a n d e l o r m e d by m e r c u r y
pollution
I I ' Eugene Smith. 1971

Hie delormed and . o n i o n e d bod\ ol 1" \ear

old Tmnoke I 'emura wa> I I K result ot mercury
|s i l l a t i M t t that had also left her blind and mute.

Hie same industrial waste had poisoned many

other inhabitants > it the Japanese fishing ullage
n| Minamata. A tew week* attrr this picture w-a*
taken. Smith was severely beaten by goons
working lot the [Whiter-, the O i i * * o company.
I 'emura died six years later.
Chinese Nationalist r e c r u i t s massing
in Belling
ffenn Catner-Br^on. 194H

In the waning day* ot the Chinese revolution,

recruit* were rounded up t o swell the army o f
Chiang Kai-shek in hi* fight against the
communist lorccs ol M a o Zedong.

A h a n d r i s e s f r o m t h e e a s t e r n side of t h e
Berlin Wall
l\>ul Siburzer, J 9b J

Ten years from now will the lierlin Wall have

fided from memory? Will it be necessary to
explain Urn picture in detail* Those who saw the
photograph in 1 % 1 . when the wall was new. need-
ed no explanation. Schut/er. who did prizewinning
work during the Eisenhower era, was killed d u n n g
the 1967 Six-Day W a r in the Middle East.
Spanish Civil G u a r d
IV F.ugene Smith, t95Q

This w i d e - i n r i c portrait ot Franco's hated Gnuat Civil is

part Smith's legendary I . i n photoessay on the Spanish

village ot" I Weitosa t population 2..WO). T h e soldier- were
squinting into a blight sunset. Smith persuaded them to
s u v still, assuring them t h n m g h his interpreter dial 'the
lighting m.itei you look *a strong, to powerful "Thii night he
wrote to his m o t h e r , " Thii afternoon .. 1 was .-Touched" in
hone dung on a street in Spam trying to trandate m\
indictment of the Qrnnlia Ciitl and power* above."
Bangladesh Ihn XUCulhn, l>>:i

In the I9n0» and 7 0 s , British photgrapher M . Cullm became one o f the beM-kiiown
c b o n i r l e r s o f war ami misery. His work was an inventory o f the endless plague ot vio
lence in Mcfa Ptacet as Cyprus, the C o n g o . Cambodia, Biatra and Northern Ireland.
Earthrlse from space H

Nor every grcar picture is taken hv a professional photographer

T h i s shot was m a d e by o n e o f the astronaut, aboard Apollo 8 ,
a lunar orbital mission that preceded the tint m o o n landing by
.seven months. " We'J come 240.000 miles losee the moon," Ander-
later wrote, "ana" it wa- the earth that wax really worth looking at"
V I : RESURGENCE 1980-1995
B
v n o w t h e d o m i n i o n o f t h e c a m e r a is t o t a l . P h o -
tography has mapped every inch ot creation, every
patch ot"earth, n o m a t t e r h o w remote. C a m e r a s arc
o b l i g e d t o patrol t h e solar s y s t e m t o find n e w s i g h t s .
S h o w u s t h e e a r t h from M a r s — w e ' v e already seen
earth from t h e m o o n .
In t h e m i d s t o f this a b u n d a n c e , p h o t o j o u r n a l i s m
h a s c o m e t o a c r o s s r o a d s . I n t e r m s ot s h e e r t o n -
nage, t h e 1 9 8 0 s was a g o o d decade tor the profession. M a g a -
zines began d e v o t i n g increased space to pictures, using m o r e ot
t h e m a n d g i v i n g t h e m b i g g e r play. It m a y b e a r g u e d t h a t t o o
m a n v w e r e c e l e b r i t v p o r t r a i t s a n d g l a m o u r s h o t s ; still, t h e g a l -
vanizing news i m a g e a n d the m o v i n g p h o t o essay m a n a g e d t o
s u r v i v e b e i n g c r o w d e d o u t b v s p a r k l e a n d h y p e . It w a * possible
t o find m a g a z i n e s in t h e U . S . a n d a b r o a d t h a t w o u l d give s p a c e
t o p r o j e c t s like S e b a s t i a n S a l g a d o s g l o b a l s u r v e y o f w o r k . A l o n
Rciningcr's portrait o f t h e a g e o f AIDS a n d essays o n h o m e l c s s -
ness b y M a r y E l l e n M a r k a n d E u g e n e R i c h a r d s . A f e w imag-
inative n e w s p a p e r s , t h e D e t r o i t Five Pica, t h e B o s t o n Globe, t h e
Louisville Courier-Journaland t h e P h i l a d e l p h i a hf/uirer among
t h e m , b e g i n generating p i c m r e stories with the quality a n d
ambition that were o n c e t h e exclusive d o m a i n ot m a g a z i n e s .
N e v e r t h e l e s s , t h e v e r y q u a n t i t y o f p h o t o g r a p h s h a s led t o a n
u n c o m f o r t a b l e question: D o e s the power o f pictures dwindle
w h e n t h e v a r e s o n u m e r o u s ? I n t h e last d e c a d e o f t h e 2 0 t h c c n -
n m — a hloixlv a n d sinister era b v a n y m e a s u r e — i t s e e m s r e a -
sonable t o ask w h e t h e r t h e impact o f photojournalism has
w o r n off, l e a v i n g o n l y t h e m o s t s e n s a t i o n a l i m a g e s t o r e g i s t e r
o n t h e b r a i n . N o w t h a t e v e n - k i n d of g r i e t h a s b e e n p r e s e n t e d
t o t h e c a m e r a , w h i c h h a s r e c o r d e d it f r o m every a n g l e , p i c t u r e s
o f m i s e r y o n l y s e e m t o r e c a l l t o us o t h e r p i c t u r e s o f m i s e r y .
L o o k b e h i n d t h e face o f a h u n g r y c h i l d in E t h i o p i a , a n d t h e r e
is t h e f a c e o f a c h i l d in B a n g l a d e s h ; b e h i n d t h a t , t h e r e is t h e
f a c e o f a c h i l d in S o m a l i a . It b e c o m e s h a r d t o d e t e r m i n e
w h e t h e r t h e m o r a l s e n s e is s h a r p e n e d o r c o a r s e n e d by r e p e a t
ed e x p o s u r e t o c a l a m i t y .
I h e n c o m e s a n i m a g e tit o n e m a n b l o c k i n g a l i n e ot Tanks
in B e i j i n g , a n d o n c e a g a i n a p h o t o g r a p h s e n d s s h i v e r s d o w n
t h e s p i n e . S o it c a n b e d o n e ; a p i c t u r e c a n still p e n e t r a t e t h e
emotional indifference that c o m e s f r o m overexposure. I he
One man blocking a line of Chinese government tanks
Stuart Franklin, 1989
q u e s t i o n i s — a s it a l w a y s h a s b e e n — h o w t o m a k e t h a t p i c t u r e .
S e b a s t i a n S a l g a d o d o e s ii w i t h p h o t o g r a p h s o t a w o r l d in
w h i c h o n e c a n glimpse t h e shapes o f eternity lurking just
b e n e a t h the events o f t h e day. F o r 2 0 years, Salgado, a Brazil-
ian w h o w a s t r a i n e d a s a n e c o n o m i s t , h a s d o c u m e n t e d lite
a n d l a b o r in d e v e l o p i n g n a t i o n s . W h e t h e r p h o t o g r a p h i n g a vil-
l a g e in P e r u , a n o p e n - p i t g o l d m i n e in B r a z i l o r a r e f u g e e
c a m p in E t h i o p i a , h e d w e l l s n o t o n s u f f e r i n g a l o n e b u t o n t h e
f a c e t s t h a t g i v e life, a n d e v e n s u f f e r i n g , m e a n i n g : t r a d i t i o n ,
c o m m u n i t v a n d esj-eciallv w o r k .
E u g e n e Richards and M a r y Ellen M a r k arc t w o A m e r i c a n s
w h o h a v e b r o u g h t n e w lite t o t h e o l d f o r m a t •>! c o n c e r n e d
photography. W h e n R i c h a r d s talks a b o u t p h o t o g r a p h y , h e
o f t e n s o u n d s like J a c o b R i i s . H e s e e s it a s n o m o r e t h a n a
m e a n s to an e n d : s h o w i n g unflinching views o f poverty and
pain. I lis b l a c k - a n d - w h i t e essays a b o u t e m e r g e n c y r o o m ! o r
c r a c k - h e a d s o r p a n h a n d l e r s m a y l o o k at first like a m i l l i o n
o t h e r i m a g e s o f m a y h e m , f u n k a m i misery. B u t , in t h e m a n n e r
o f I , e w i s I l i n e , his w o r k takes o n lasting p o w e r b y its refusal t o
categorize people. H i s pictures are not tidy; the people a r c
n e v e r d e f i n e d a n d d i s m i s s e d . T h e f r a m e is h e c t i c , full o f l o o s e
e n d s . " C o m p o s e d s h o t s lie b y t u r n i n g p e o p l e i n t o a r c h e t y p e s , "
h e o n c e s a i d . " T h e H u n g r y C h i l d , t h e D r u g A d d i c t . I feel
m o r e comfortable taking fragmentary photographs, s o y o u
k n o w t h a i t h i s is n o t t h e f i n a l , c o r r e c t a n s w e r . "
M a r k ' s p i c t u r e s o f t e n c o v e r t h e s a m e territory; b u t s h e i n f u s -
es t h e m w i t h a n e x t r a s p r i n k l e o f spirit. H e r s u b j e c t s n e v e r fall
i n t o t h e c a t e g o r y o f v i c t i m . 1 l e r p h o t o essay about street kids
in S e a t t l e is t y p k a l I f t h e k i d s in h e r p i c t u r e s h a v e p r o b l e m s ,
t h e v a l s o h a v e b r a i n s , g u i l e , s.iss a n d e n d u r a n c e . T h e y c a n h e
s h r e w d a n d a d m i r a b l e e v e n w h e n t h e v are n o t entirely lik-
a b l e . M a r k s g i f t s are a p p a r e n t in h e r l i g h t e r w o r k BOO. I n t h e
color p h o t o g r a p h s s h e produced ot M i a m i , the sheer c h r o -
m a t i c p u n c h tells y o u t h a t F l o r i d a is a g r e a t s e t t i n g for t h e
h u m a n c o m e d y . T h e l e m o n y s u n l i g h t , t h e s c r u m p t i o u s blue o f
t h e s k y , all t h e e l e m e n t s a r e in o n t h e j o k e .
l*he s p r e a d o f c o l o r p h o t o j o u r n a l i s m w a s o n e o t t h e s i g n a l
d e v e l o p m e n t s o f t h e ' 8 0 s . F o r d e c a d e s , it w a s difficult t o i m a g -
ine n e w s p i c t u r e s in a n y t h i n g less v i b e r t h a n h a r d a n d d u r a b l e
blacks a n d grays. l*hough m a n y notable p h o t o j o u m a l l s t s c o n -
t i n u e t o w o r k p r i m a r i l y in b l a c k - a n d - w h i t e , t h e i r n u m b e r s a r c
d w i n d l i n g . In t h e 8 0 s , c o l o r p h o t o g r a p h y virtually t o o k over
m a n v m a g a z i n e s a n d e v e n s o m e n e w s p a p e r s . B u t c o l o r is t r i c k '
It b e t a t h e a u t o m a t i c g r a v i t y H l ' b l a c k - a n d - w l u t c . It s e e m s friv- h o w d o e s a p h o t o g r a p h e r k e e p a t r o c i t y t r o i n l o o k i n g palatable?

o l o u s b v c o m p a r i s o n anil a w k w a r d t o c o n t m l . B l o o d thnibs T h e m o s l c a p a b l e p h o t o j o u m a l i s t s o f t h e past 1 5 y e a r s h a v e

a n d t h e smallest patch o f yellow - m a c k s up against the retina. learned to incorporate the unruliness ot color into a deliberate

T h i s m a y a p p e a r at first t o b e a s t r i c t l y a e s t h e t i c q u e s t i o n , s t a t e m e n t . A l e x W e b b is b e s t k n o w n f o r his w o r k in t h e t r o p -

a n d p h o t o j o u r n a l i s m t e n d t o stay a l o o f from talk a b o u t c a m e r a ical n a t i o n s o f t h e I nird W o r l d , especially H a i t i . T h e h o t p i n k s

aesthetics. T h e i e i t n c t h i n g a b o u t d o d g i n g g n n t i r c in B e i r u t a n d f l u o r e s c e n t l i m e s in his p i c t u r e s o f I laifi don't j u s t sizzle

t h a t discour.iuc-. l u m i n a t i o n s o n s t y l e , u n d e r s t a n d a b l y e n o u g h . i n s i d e t h e frame. T h e y a r c t h e e s s e n t i a l e l e m e n t s o t a p a r a d o x :

M o r e r«» t i n p o i n t , n o o n e w h o c a t a l o g s b l o o d s h e d o r p o v e r t y b a r b a r i c r u l e c a n o p e r a t e in t h e b r o a d e s t d a y l i g h t , s u f f e r i n g

w a n t s t o be thought o f as yet a n o t h e r v e n d o r to t h e senses. c a n h a p p e n in sensual s e t t i n g s , a place c a n lx- c r u e l a n d inviting

S o m e n e w s p h o t o g r a p h e r s sjx'iid halt t h e i r lives c h a s i n g w a r s ; at t h e s a m e t i m e . T h i s is q u i t e d i f f e r e n t f r o m t h e b a s s n o t e o f

w h o c a n b l a m e t h e m if they reach tor the d o o r w h e n they hear t r a g e d y p l a y e d in b l a c k - a n d - w h i t e p h o t o g r a p h y . T h e r e is p r o b -

t h e w o r d a r t ? T h e e x a m p l e s Ot a r t i s t - r e p o r t e r s like VV. K u g e n c a b l v n o o n e else w o r k i n g in p h o t o j o u r n a l i s m t o d a y w h o s e p i c -

S m i t h a n d H e n r i C a r t i e r - B r e s s o n p r o v e o t h e r w i s e , but t h e tures o f f e r s o m a n y t a n g l e d possibilities. N e a t h even one o f

1

s t e r e o r y p e s u r v i v e s : artists h a v e visions; journalists h a v e a s s i g n - t h e m resists b e i n g p i n n e d d o w n b y a c a p t i o n . T h e y o t t e r t o o

ments. T h e v m a y k i t h think to themselves. "I a m a c a m e r a , " many complexities; c o n t r a d i c t o r y signals a n d surplus m e a n -

but e a c h m e a n s s o m e t h i n g d i t t c r e n t . i n g s e m a n a t e f r o m all p a r t s o t t h e f r a m e .

Vet a e s t h e t i c q u e s t i o n s h a v e a m o r a l d i m e n s i o n . C o l o r is W e b b ' s pictures clearly t a k e inspiration f r o m t h e spatially

p r e t t v ; m i s e r y is n o t . I l o w d o c s o n e k e e p t h e s i m p l e a p p e a l o f c o m p l e x w o r k of C a r t i e r - B r e s s o n . L i k e a n u m b e r of r e c e n t
co|i»i f r o m c o n f o u n d i n g t h e lull r a n g e ot m e a n i n g s a p h o t o - photojournalists, he also o w e s a debt t o such p h o t o g r a p h e r s as
g r a p h m a y c o n v e y ? I f p i c t u r e s o f g e n o c i d e c o m e t o u s in t h e G a r r y W i n o g r a n d a n d L e e K r i e d l a n d e r . w h o used t h e d o c u -
m u t e d p a s t e l s o f a C l a p a d o r t h e vivid h u e s of a r o c k v i d e o . m e n t a r y a p p r o a c h for m o r e persona! e n d s . In t h e l°riOs. thev

Seat; . • ; ' t h gun Ifttrj Etitn Mirk, 1983

S t r e e t s c e n e In Haiti •
discovered from snapshots (and from the groundbreaking w o r k
o f R o b e r t F r a n k ) h o w t h e e c c e n t r i c i t i e s ot a m a t e u r picture
taking—the awkward gestures, the u n c o m p o s c d views—could
h e a s t y l e in itself w h e n a d o p t e d d e l i b e r a t e l y . E v e n t u a l l y t h e i r
w o r k l e g i t i m i z e d p h o t o g r a p h s in w h i c h t h e s c e n e m i g h t b e tilt
ed, limbs m i g h t be sliced by the e d g e s o f the f r a m e and the
m o o d o f t h e m a m figures m i g h t be c o n t r a d i c t o r y , a m b i g u o u s
or simply im|ienetrable.
B e c a u s e p h o t o j o u r n a l i s t s w o r k in a p r o t c s s i o n t h a t p u t s a
p r e m i u m o n action shots, t h e y have o t t e n turned' o u t scenes
with the s a m e laissez-faire approach t o c o m p o s i t i o n . I t s n o t
e a s y t o g e t real p e o p l e t o fall n e a t l y i n t o p l a c e . B u t t h e e x e m -
plary pictures o f the c a m e r a - r e p o r t i n g tradition have bowed
more often to conventional expectations ot how a picture
s h o u l d b e c o n s t r u c t e d , t r e a t i n g t h e e d g e s o f t h e f r a m e like a
p r o s c e n i u m a r c h s u r r o u n d i n g a quickly r e a d a b l e i m a g e . T h i s is
t h e t r a d i t i o n o f D o r o t h e a L a n g e , C a r ! M v d a n s a n d \V. K u g e n e
S m i t h . It d o e s n o t a l w a y s w o r k , h o w e v e r , f o r p h o t o g r a p h e r s
w h o find t h e m s e l v e s in the midst o f t h e m a v h e n i o f R w a n d a o r
Sarajevo, where t h e c o m p o s u r e that marks such earlier work
c a n s e e m i n c o m p a t i b l e w i t h the brutality ot current e v e n t s . In
s u c h c i r c u m s t a n c e s t h e m o s t d e c e n t i m p u l s e is t o use t h e c a m -
e r a as a b r a n d i n g i r o n ; t h e r i g h t p i c t u r e s a r e b l u n t , s c o r c h i n g
a n d i n d e l i h l e . That they «.an a l s o l o o k r a w a n d h a p h a z a r d is
m e r e l y p r o o f t h a t style c a n e c h o t h e l a c t s . T h e m o r e c o h e r e n t
i m a g e * , o t classic p h o t o j o u r n a l i s m c a r r y a n i m p l i e d m e s s a g e :
l i t e is c o m p r e h e n s i b l e e v e n in t h e m i d s t o t c a t a s t r o p h e ; w h i l e
e v e n t - m a y h e terrible, the h u m a n d i l e m m a retains a familiar
t h a n e . T h e atrocities o f Bosnia or R w a n d a can break that
faith. In a p h u t like S a r a j e v o , t h r o w i n g a s i d e d e s i g n i* n o t
just e x p e d i e n c y . It is a m o r a l g e s t u r e .
Probably n o o n e has seen m o r e o f s u c h places than J a m e s
N a c h t w e y ( h i e o f the most widely published photojournalists
o f recent years, he has witnessed the w o r k ot t h e d e a t h squads
in C e n t r a l A m e r i c a , t h e s e c t a r i a n r i g h t i n g in B e l f a s t , tin steady
r a m o l h o r r o r s in L e b a n o n a n d m<»st o t t h e w e a r y s p e c t a c l e s
t h e Stfs a n d ' 9 ( K h a d t o o f f e r . I n 1 9 8 9 h e s e l e c t e d Mwne o f h i s
w o r k for a b o o k , /V>'</i of'It'ar. t h a t c o n s i s t s j l m o - t e n t i r e l y o f
i m a g e s o t |>olitical v i o l e n c e — b r u t a l , d a r k s e q u e n c e s .
In its s e r i o u s n e s s a n d r e m a r k a b l e g l o b e - t r o t t i n g scope.
N a c h t w e y ' s w o r k is o f t h e k i n d t h a t w a s u n d e r s e v e r e p r c w r
f r o m t w o s i d e s in t h e p a s t f i f t e e n y e a r s . I n t h e p r i v a t e sect*
G o l d m i n e r s In B r a z i l v A / ^ v - v . . . 1986
the newspapers and magazines where work i> published, there
was a greater demand lor celebrity journalism and "lite-style™
pictures. A photographer could make a decent living hv s o -
cializing in swank living rooms, Caribbean resorts and doSc-
ups of 1 Inllvwond hopefuls. Complex photoessays and solemn
social reporting had a harder time finding page space. A n d
tn>m the government side came a renewed threat ot censorship.
In recent years, some places that were long otT-limits to
photographers became accessible. \ lew sealed precincts of
life in the Soviet U n i o n and Central Europe were at last
Opened to the press In the United States, many courtrooms
admitted cameras for die first time. ( T h e y had been banned in
most states in reaction to the swarms o f news photographers
w h o covered the 1935 U n d b c i gh baby-kidnapping trial.) But
there were I I K I many other -puis where the lens was met hv an
.d hand raised to cover it; the Iran-Iraq war, the West
b Made townships o f South Africa and the killing
gt' ' I lananmen Square. N e w s photographers were
bant the U.S. invasion of (Jrenad.i. Soviet bombers
lTactllICi i ,n villages awav from public view. I Seeding the
lessons o f Vietnam rather than the lessons ol W o r l d W a r II.
the Pentagon restricted press access to the battlegrounds ot the
G u l f war, amid widespread criticism o f its censorship.
A d d to these problems the pressure that the future will
bring. T h e pnilcssion now has .it its disposal advances in p h o -
tographic technology that will change what pictures arc capable
of doing, just as the hand-held camera and the tlashbulb once
did. N e w digital equipment that breaks down an image into
thousands ol electronic impulses has made it |*ossible to store
photographs on a computer disk or to transmit them instantly
via satellite. T h e advantage lor news coverage is obvious: pic-
tures taken at a summit meeting in Europe or at I demonstra-
tion in South Africa can be beamed at once to editorial head-
quarters elsewhere in the world, instead o f being flown in by
overnight jet.
W i t h those changes come new problems. T h e difficulty is
that related technologies also allow photographs to be altered
electronically, a mixed blessing at best. Photo retouching, a
craft tliat alters pictures subtly w i t h pencil or paste or air-
brush, has existed tor a long time. Even many ot the earliest
A c h i l d a t p l a y In N i c a r a g u a / . . ivy, 1983
dagUCCreotypC pictures were hand-tinted. But conventional
forms o f retouching were always detectable by experts; they
were often detectable bv anyone. "Hie computerized reworkings
are different. It is virtually impossible to tell whether such
pictures have been altered, leaving open the possibility thai
photographs will be able to lie in ways unimaginable in the
past. In an era of dubious "re-enactments" on network news-
casts, the photograph still -ays, " T h i - hap|>cned." Each frame
on the contact sheet represents some indisputable moment ot
contact with the world. T h e prospect of computer tinkering
threatens to bring a day when the whole enterprise ot picture
taking will be not so subtlv compromised.
Technical alteration o f photographs penetrates to the heart
o f the relationship between the viewer and the image.
was widely criticized w h e n its cover featured a photo-illustra-
tion by artist Matt Mahurin that used computer technology to
darken a police m u g shot o f accused murderer O.J. Simpson;
v u n e even ]>erceived racism at work. Critics charged the altered
image betrayed the compact between viewer and editor the)
argued that a picture should represent reality, not a computer-
ized version o l reality in the service ol an editorial statement.
T i M t : managing editor James R. (James responded hy not-
ing that "altering news pictures is a risk) practice, since only
documentary authority makes photography o f any value in
the practice ot photojournalism. O n the other hand, p h o t o -
journalism ha- ncier been able t o claim the transparent neu-
trality attriNitcd to it. Photographer-* choo-c an-Je- and editors
choose pictures to make points . . . and every major news out-
let routinely crop* and retouches, p h o t o - to eliminate minor,
cxtraneou- elements, so long as the essential meaning ol the
picture is K i t intact. O u r critics felt that M a n Mahurin's work
. l u n g e d the picture fundamentally; I tell it lifted a c o m m o n
police mug -hot to the level o f an, w i t h no sacrifice to truth. If
there was anything wrong with the cover, it was that it was not
T I M E
immediately apparent that this yvas a photo illustration rather
than an unaltered photograph; to knoyy that, a reader had to
t u m to our contents page or see the original m u g shot on the
opening page of the story."
Yet few noticed or objected when T l M r used computer
retouching to alter the famous image ot jeering Somali- dr..
 The funeral p r o c e s s i o n of Queen V i c t o r i a Pi m T h e ;-u ii.n was retouched in accentuate detail-.

Pre.v K t r o w \. ton w i t h U.S. G e n e r a l J o h n P e r s h i n g I't'ciogntpbfTmimvm, US Army Signal Corpt. In thn picture a r e t o u c h a hjM
pallia:!* rem * 1
> t'gii-.- hdund the t w i t latin HI- men.
g i n g .i d e a d I J . S . s o l d i e r t h r o u g h t h e s t r e e t s ot M o g a d i s h u . In
t h e o r i g i n a l p i c t u r e t h e g e n i t a l o r g a n s o t ihe s o l d i e r a r e c l e a r
l y v i s i b l e ; t h e e d i t o r s c h o s e t o a l t e r t h e i m a g e a- a tinal g e s t u r e
o f d e c e n c y t o o n e WIHINC violation would be so universally wit-
n e s s e d . 'I"he a l t e r e d v e r s i o n o f t h e p i c n m - ap|x\irs in t h i s h o o k .

T h e s e issues a r e i m p o r t a n t b e c a u s e t h e e x p a n d i n g d o m a i n
o t pictures is sure t o e x p a n d further. It has n o w t u r n m o r e t h a n
a c e n t u r y s i n c e p h o t o g r a p h y first p o k e d it- h e a d i n t o t h e p a g e s
o f the press. S o o n pictures s h o u l d e r e d aside c o l u m n s o f print.
A n d w e c a n I K * s u r e t h a t t h e v will c o n t i n u e t o p r e s s upon
s p a c e t h a t w o r d s a l o n e o n c e o c c u p i e d , o b l i g i n g us t o w e i g h
carefully the ways that e a c h form operates u p o n the under-
s t a n d i n g . A p i c t u r e is n o t w o r t h a t h o u s a n d w o r d s . P i c t u r e s
a n d w o r d s d e a l in s e p a r a t e c o i n t h a t is n o t t u l l v c o n v e r t i b l e .
T h e y r e a c h in d i f f e r e n t d i r e c t i o n s , r e p o r t t i » d i f f e r e n t f a c u l t i e s ,
c r e a t e d i f f e r e n t i m p r e s s i o n s . I n t h e p r a c t i c e o t telling the n e w s ,
p i c t u r e s a n d w o r d s a r e like e s s e n t i a l t r a d i n g p a r t n e r s , two
O.J. S i m p s o n PAgn-i&a/mfin -. Matt
realms that deeply require each other. T h e form ot their
Mahurin. TIME'S adaptation o f a police
e x c h a n g e will h e t h e f u t u r e of j o u r n a l i s m itself.
mug shot on its cover angered readers

Yalta C o n f e r e n c e ? I\mt 1 ligdon. 1990. N e w technology made it possible to include some latter-day gatecrashers among the Yalta Conference

participants: Sylvester Stallone and G r o u c h o M a r x

T h e fall o f t h e Berlin Wall
Alexandra Aiatuw, IVSV

T h e collapse o f communism across Ka-lern Kuiope

made 198** o n e o f the most momentous vcats o f O K
20th lentury. Though much ol the upheaval was
bloodless, tt pnxluced nianv memorable images, the
most symbolic being the demolition ot the Berlin
Wall. Uelore moving on to Berlin and Prague.
Avakian -pent several years covering the Middle East
lor various publications.

Farewell to Lenin
Alfred 1990

In another picnire that perfectly captures the twilight

ol die old order, the statue ot Lenin that occupied a
prominent position in It - i ••* is prepared lor
femovoj by a metal cable • - a 2 0 t h centurv noose.
Capping a burning oil well In Kuwait
Srefhane Ccmpomr, /''V/

A* illicd forces pul an end to Sadtlam I lusvrim

takeover o r Kuwait, rctrejting Iraqi troop* set l i r e to

hundred* o f oil well* T h e n u » n r operation to shut
rhe well* tickled rhi» remarkable pH'nire,

i serin^ the worker- lend* the

bum: ' metal sculpture t o a scene o f

trenzir.: -nvirv,
A m e r i c a g e t s I h e n e w s : W a r in t h e Gull
S/nvlta, I'i'ii

Reminiscent " t Carl Mutatis' p u t w e ot commuters

un J train reading ol the as*asvination ut John F.

Kcnnedv. I J*-'* pu nirc wj« taken at a cotTee n o p

in the small town ot Ro, k Fall*, Illinois

G r i e v i n g s o l d i e r i n t h e G u l f w a r / >.,. i / , 1991

Turnlev mapped this metnorahle picture juit after Sergeant Ken Ko/akiewiey, on lett, wa*
notified that the hodv in the bag at tight was that ol a close Iriend. killed by friendly tire.
 D e a t h In S o m a l i a
/W IlilMn, 199J

T h e K x t v o f a U.S. soldier is ttatMcd thiough the

street* o f Mogadishu a* Somali* jeer Demonstrating

the continuing power o f still pictures t o n o w minds,

this image became a call-to-arms for those w h o
opposed the U . S . mission in Somalia, and is still cited
as a symbol o f rhe perils ot foreign engagement.

A f u n e r a l p y r e in N i c a r a g u a
Sman Masxm* 1979

As a portrait o f President Somo/a bursts into tlame, it

partially obscures the h o n o r behind ir - rhe burning
P o l i t i c s in P a n a m a K-.n //,..•:.. 1989
bodv nt one ol Sotno/a's National Guard. 1'olitical

I lis *hm was blotxlied b\ an attack on his chautteur; now vice-presidential candidate revolution ami repression made Central America a

Guillermo Kord race* a heating hv a member o f the pro-government "Dignity Brigade." major destination lot photojournalists in the l'lStk.
 I r a q i K u r d s killed b y p o i s o n gas
RimazMM f/zturi, 1988

I living employed poison gas a- a weapon in the war

i. -i i •' Iran. IT S.| - dictator Saddam I lussein did not
hesitate tn use the same deadly method against his
own nation- kurdi-h mmoritv.

A c e m e t e r y in Sarajevo
Atttoint (iyo'i. 199t

A f u n e r a l in C r o a t i a
In irs formal composition and elegiac tune, this image
Cbrittof^r Morni, 199!
is in statk contia.st to most pictures taken in the

A young hoy weeps lot his latltet. a victim o| the war besieged Bosnian capital—blurred action shots taken

between Croatia and V t b i a . fin- ttrst o f the recent on the tlv that tetlect the skinrsh quality ot lite in a

conilkis between tlx- republic* ot the toimcr cirv encircled bv enemy troop* and under constant

Yugoslavia. Like James Nachtwey. M o m s often places bombardment and -nipcr tire.

hiimeit in danger to taiHurr pisrure* ot people in

extreme - m u t t o n s ; he wa- captured and held tor
several davs b% I- troops during the (lull war
Death vigil In Sudan
Kevin Curler, 1993

T h i s p i c t u r e s h o c k e d the w o r l d and e a r n e d t h e Pulitzer Pri?e tor

South African p h o t o g r a p h e r Carter. After t a k i n g it. Carter c h a s e d

awav t h e v u l n i r e t h a t r h r e a t c n e d t h e c h i l d — b u t the m e m o r i e s o l t h e

man)' v i o l e n t scenes h e r e c o r d e d in t h e waning y e a r s o f a p a r t h e i d

were n o t so easily diaken. 'You are making a visual here, "he s a i d ol t h e

p h o t o j o u r r i a l M * ' - p l i g h t , 'Bui inside something is screaming. '.\1\ Cod ''

1

A despondent C a r t e r c o m m i t t e d s u i c i d e in 1 9 9 4 .
At a c a m p Tor R w a n d a n r e f u g e e s
jamet Nachtwey, 1VW

A s horrific grmtcidal warfare convulsed Rwanda HQ the summer of

1 9 M J hundreds o f thousands o f refugees lied to camps in Zaire.

W h e n an epidemic o f cholera spread through the camps. Nachtwey

recorded the grislv labor ot overwhelmed rescue workers as they

gathered up the dead in bulldozer* for mas* burial.

Rioting in Los Angeles
EdCarreon. 1992
Ground ZOO OH April 29, the first night o f the riots in L o s
Angeles that followed the verdict absolving I..A. policemen
in the heating ot black traffic violator Rudriey lOng. T h e
riot's final toll: 5 3 dead, 2 , 3 8 3 injured, $ 7 7 5 million m
propctn damage - a n d a profoundly shaken community*.
Robert ( " Y u m m y " ) S a n d i f e r , e x e c u t e d a t 11
Stew List, 1994
Phicc days alter killing a 14-ytar-old girl in a botched
revenge shooting. Chicago gang member Sandifer, 11, was
executed by t w o teenage confederates. "It nan embarrassing,
to be perfectly blunt, ~ said photographer Liss. 7 stayed to the
side, but I fldl felt like 1 didn't belong there."
A woman smoking crack with her
child beside h e r
Eugene Ruhauh. 199Q

In the course ol pupn m;-. .1 plioin essay

jbt»ui childlhxd 111 North I*hiladclphia"s
pmtrrst slum*. Ki.lurd* nude ihls picture
ot 1 wonun smoking crack, a drug that was
laying waste in neighborhoods already
under assault from puvvitv. '.\Ivhah\ afwitvi

items to know when the MM ANM out, anj

she fights it," the w» lie remarked. 'It m,ikei

me want to hurt her '

Mary Decker (alls at t h e 1984 Olympics
Davitl Burnett. fSI

Alter stumbling in J •HIIIMMU wiih runnci '/.<•.. Budd. I *. ckei

grimaces in pain and anguish as she watches the 3 . 0 0 0 meter race
;-i « • i •'. withiiut her. IXvker h:id gr.i/ed Build, whose lelt leg dien
angled mit, tripping Decker. 'I felt I i n n tied to the ground "she >aid
later. 'AllIloidddo uwi watth them run off.'
T o n y a Harding pleads for m e r c y
JackSmiih. 1994

T o n y a H a r d i n g a r r i v e d 41 t h e 1 W 4 W i n t e r O l y m p i c * i n N o r w a y
t r a i l i n g c l o u d s o f « i a n d a l ; she l a t e r a d m i t t e d h e r c o m p l i c i t y i n the
vicious attack r h . u left r i v a l N a n c y K e r r i g a n w i t h a n i n j u r e d k n e e , a n d
accepted a pica b a r g a i n thai i n c l u d e d a line a n d c o m m u n i t y service.
1 l o r e s h e appeals t o j u d g e s w h e n a lace o n h e r s k a t e b r o k e i n t h e first
m o m e n t s o f h e r free-skating routine. S h e failed to w i n a m e d a l
The g r e a t Mississippi flood
Bill <li!Ietic, 199J

I n the stunmcr -.1" 1«W * 4 "SlHI v e a i flood" left s o m e

70,000 people IhhiicIo* w h e n roiling tlo-Hrwatcrs

b r o k e T h r o u g h the l e w along iIk- Mississippi Ri\rr

a n d irs t r i b u t a r i e s l i m n earthquake in L o s Angeles
and T o k v o t o raging 'ire- i n the hill- 1'alitomia
t o v o l c a n i c eruption*, i n the I'' I | • • •• natural
disasters i n t h e p - N O s h a v e p r o v i d e d p h o t o g r a p h e r *
w i t h s i n k i n g i m a g e s o l nature's p o w e r — a n d m a n ' s
stuhhorn iinl'ii .1 1 111 its w a k e .

|S(>
After the hurricane
Jjsnnu Wains. 1992

In August 1 lurruanc Andrew rampaged from

I I K Bahamas aerms MNith Honda and inlo I ouisiana
wilh winds raging up to 1 6 4 in p h ["hotographer
Water* captured tian D J V I * o t Homestead. Honda,
a* he « t o n d o u t M t t c die wreckage ot hi* mobile home
.rodling one precious p.-session denied the hurricane.
F i r e m a n a n d c h i l d in O k l a h o m a C i t y
Cfmln II. Pmttr IV, ; w 5

Appearing in new>papers from coast t o coast. dii»

picture o f firelighter Chris Kield* cradling the body
o f one-vear-oU Baylce A l m o n in his arms c a m e to
symbolize both the tragedv and the heroism involved
in the temirist bombing o f the federal building in
Oklahoma City in April 1**95.

Remembering the victims of the b o m b

StrvtlM WW

A lining hot j o i n s in the prayer, at a cansllelight vigil

in Stillwater. O k l a h o m a , ir. m e i i i o r i M those w h o
died m the Oklahoma City blast. Tlie bombing erf
the Allied I* Mttrrah rectcral Building r»y terrorists
-eemcd particularly ruthless, since a large day-care
center was located within it.
PHOTOGRAPHY CREDITS
8: Loin* Ja.ipie* M inde D i g u n i r . B i t e o - . I • • wood; 53: linn llmi.tiil, New Vurk lkin\• W'ui. 54: Berlin; lO 'Carl M u L i o . I n 1 . I 1 < H. • i . •.
1 1

National Mu*eum, Munith; 10 It ft. Tnin'th* I I
O'SuQiran. LiHron <>l C U I G T T M . >ttht t/j-pr''. Heet-
H. Jul* 16. I S M . Ubran . r f C m g i r . . . II Roger Fen-
t i - < i . I : L - R . i - > i4"Congre»«. 12-13 Tinnth* II O'Sul-
I n m . Ijhrjn ot Congrr». 14 Alevjnder (Jmlncr.
Cuher. I KIKI b- •• • K t-l- > Turn-* 11 ilr.' 1 IVTUK
; the City <it" New York, Tlie |a.ot- A. Rn* I• -Ik.urn.
Librar*. I k ' , 16: Mavimr du l i i n ; ' VHIOIIJ and
Afeol Mu*eum. New toA IVIMR L.btarv. I S ft?
Cad Ferdinand Stel/ner. RikUi.lm IVrvmivher kid-
Jovtih A. Kii*. \ l , • 1 n| the C n > of N r « York, Ilu-
I.K<4» A. R 1 1 . Collet timi; 57 Lewis W I line, iWorge
I i t 1 I' M I ^H: Lew is \\" H i i i . Annul Carter
Muteuin, l o f t VVitrli. lews, m 1..1—1 l l . m i - « New
Yi irk FUMK Lihrarv, hi ftp Ja.i4> \ R 1 1 - . Musrum ol
bottom. John I F » i « T i v i n . New \<nV 1'UIJK Ijhrory, b2
l»p Lcwn W. I line, New Yxk Puhlk I jhtart; btftvm
Lewi* W I line, M i - r m .«t rl«e C m t V « Y.wk.
Btcswiu Magnum, H I Ihnitn Kessrt. I.ill. 1 I.' : •
W Futfcne Smith, I 111. fart m Bemit NIturntekl.
113 W . Eugene Smith. L m . 114 l>rr„ir. Balrrr-
mor.r-. top Kohrrl Copa. Magnum, bottom 1-re
MiCer. C Lee Miller A/, hoes. 116 top D r a l Sey-
mour. M ^ n u m . fawtom Margaret Bourkc-White.
I 1 1 1 . 117 Ernst Haas. MaKiHim. 118; |oc Rosen-
thal. ArAVnii World. \\* top I* 11ITll^|nTTfi
.an, 11** bottom urtkleiitilir.l i»lnttntrophrr. I2 ' ( >rl
1

tut Besitr. Bcilin.faottomWilliam I lenrv Fox I'lIN*.
The Science Museum. I.option. I 1'iul N i . I I R , I lam
4 . -o \V : in . .( ioingr I J.ltiwi li " i i ' .*•' -v J J . O S
Ransom Humonitie* Reseonh Center. I', of lcvi« J l
Austin; 20; 1 . N Banian!, George Eastman
House; 21 top I'jjlt 11 Bahhill, l l i o v RJIIMWI
Humanities Research Center. U. nt Tr*a« at Austin.
bottom George Barker, ( M I N G R Eastman llikisc; 22
top. .r. 1. •-. 11 T . 1 . I 1 1 ngiiphrr. Library •»! Coiigrr**;
1 ei kultur Besil/. Heilm, <.•< ntfv Willi Rny... Hil
faottom m nhfn .1 photographer, I ilxjrt <>l Con-
grcw; 25 top Malhtv* B(<uh. National Archive*. fa-A-
tom unidennbed r4v>toKU|<hri. I IIUJM ol Cmgre**:
24 top A L T V I I I J C T < . ti.l- • I il-.m ul Cmigir«. ' .'
f.m Tim»l'w II t * W l i u l . N.il -iful Vihivr*. 2S
t-.p Mathen Bradi, National A n hive*, bottom
.Uex-indef < iardnrt.MeUopa 4i'on Mlcrun ••! Alt. 2 6
top Ft in. i> Fmh; helium Robert llowlrtt. George
i -••••i*n ll*«j«e. 27 t-.p jolm Moron, (ieoege E*»i-
nun Mouse; faottom Ki—*>it Riothcf. lt1N1.1lhe.jLK
Nonnnale. Pom, 28 top Andrew I Ru**ell. o*nir-\
Union I V I I K lli.titi.jl Musrum; bottom I innxhy
II O^ullivon. Nononol Anhivv>, 2** Fodweord MUV-
H O D G C , I' ul Coiit Los Angelev. I ' Research l.ihtorv,
63: Lews W I line. New Y.ik Putsx IMUKfi o4 top
•V R 1 1 - . M . 1 i t ! (he Citt "I New Yuk. iFe Jj.*4>
A R J * Colkslnti h5 rop I cwi* W HI-K. ( i c o r g r
Kasrman House, faotto™ Lewis W lime. New York
PUDIK Lihton, t * Willi Rngc. C>ille.n. H I)- N
Tim G u y . tJHUit Willi Rugc. Biklar.hiv Prwi-wch
• 1". I'I. .i h-.'-.ir ' . 11 • Berlin, (> Miittn
u
Miinka.o, l> 1 • I - IV . . . I r Kultur Bcsii/,
1
Berlin. 7il- unnlcntitird phirtogiapher, I'aulu* Lrs*ei;
72: R u n * Ignat"»vh. M M V 0 I Faish Saknmm,Cul-
Irtiion ol l>r N F U N (iidil, bottom Hi F o . h
Salomon. 75 \li . I I I . a j u h . L i f t ; 76 top FeU»
II. Man. Bildanhn I ' l U i ^ f a j kulnt IV. U, il,.
bottom C J I I Miiltm. l a i r , 7 7 top Andie Kcites/.
Estate i»t \ndir keftr»*. bottom AnJrc Kertes/.
E«tan* ot'Andre kertru; 78: Cjfl Mvdan-. L o t ; 7V>
.\ltre»l KnemtarJt. I J M . SO fop H S ("Nrw*feert
W i * i g . I'Pi'BeTinunn IntrntatmriaJ New* IT**', bot-
tom: Robert i i | Magnum; 81 Sam Sherc.
1
MvJans L i n . 121: Allied Eoemioedr. Lirrq 122;
Fritz ( J O O H I J I * ; 121 uiikk-ntilied pl»aogij|»licr. U.S.
Air Force, 124:1.«»um> I Van, 1.111. 126 W Fuwnr
Smith, Liu.. 12H Stanley J Fomun; l2V'Molcolm
Browne. u - A W k Wnkl. I Ml H I l . i m Burrows,
L i n ; 132: l>jn Weinei, .nutlesv SatdrJ W e i n e r , 111
top Walter Sanders, I a n ; bottom- Lootrm D m ,
Lirr, 134; Crubppe HOIOII^K ' Hol*nijn csratr. 135:
Bill Roy- l - i " . 1W. I>jshl U w g l j * l>un.4n, 117
CoriMttionvLni. 1 IS t-.p l>is*J UmgLi* D U (
faottom H e n r i laitier Brr>»«i. Magnum. 13** left
Denni. St<».k. Magnum, o;*/ Burt (ilitm. Magnum.
14l> Loomo Ikon. L i n ; 141; Iximanl M.Coriil<e.
L i n . MtBebJasUtn.DaDai limnHeraU 141 top
Coil Mvdon*, L o t , bottom I Inward Sxhurck. L i n ;
144 Bill F.ppodge. L i u . 14S John Fik.. 146 Bni.e
Davulson, Magnum; 147 top LraaBifl Freed, Mag
num. btttom (><>r.loii |4S. \\ ... |>.r,
Magnum. 14'' l 4 m e « II karale*; 150 tap. John
I oentAid, I i l l . faot/om Slim Aai>>n*. 1^1 Matthew

Zimmerman. srAVide World. I>2 Ralph Moise.

Spr. Colic, turns; 10 Lcon(>inipcl,Colk.iiiiniil'(lir HPI BcTtnunri, **2 top Wergce (Atlhur Fclhg-.
I J FT; 15.1 rep .Uhed Fi»en*ljeJl. I n r . fac/tom (iian
Snciete Fronciisc »k I'hoingraphie, Cam, 3.1: S . W . 1*N4 11 ' •' . 1111 1 11 Center ol ['Infograph*. New Yuk Mdi. l . m . Is4 W a l U c rurkland. L l t l ; 155 top
Wesimore, Library ot Congress; 14: uiiklmrificd pho Bt«|ue>t of WIIIIIJ Wikox; bottom Wecgee (Arthur
I 1 1 11 I Ma'.'ills-. I i l l . bottom R j . n i . - x l IYp.iT
lo^ijphct lor'Fhc 1'ic tonal New* Company, KcWotie Frlligi. il 1W4 IntemalKinal Center ot Itvit'Waphv.
don. Magnum. 156 j,7 E d J i e Adam*. \r A V i J e
View Co.; \t> top left Poul \i.l 11 IVturev IIK.; top New Y.nk. Itis|«est ..• W J m . Wikm; K.J- I Russell
W « k L 157/./. Sol VeoVr. AfAWIe W . - l d . Attorn
f:gh I'JUI Nodor. IVIYHT* IIK . fan •>• U->i Paul Nodor. Soigi. Kullilo Ceu'ir' ExpitH. 84 top Martin
I lirynh Cmm ( - N K I ' I Ul. a r W u i e Workt 158 W .
George Eastman llou*c, faoil:m ne*>t Pool Nodar. '•' I- • . 1 . I * i- M " •! Murtkoisi, tourtesy ot the
Eugene Smith. * ' the lieu* ot W Eugene Smith,
IV lure* lit. I- ... I » r • ! . . - • . h h i r i H M ^ < ; i e r n h n g ( ; a l e n - . *w»-i O T h e IIari4d K .
; L
.ourresy Block Star, ISffeB \V Eugene Snuth. L i u .
Fitffen.w lW2Trua,vnurtenoll*ilrn I'rcw.Inc.. 85:
bottom W . Eugene jikl Aileen Smith, the heir* ol W
H \ Peskin. L i " . 86FAFAllrrJ F T * e m l J e d t . L j l t ;
Eugene Smith, o i u i e o Ill.hW Stat, 160 top. Henn
o l CungiTM; 38: AirutU (>rnthr. Fhe Fine Artt •ight Benrn*.c .AH*itl.l.omn»erie ( itjpFs* L t d , liw .
Carrier-Bresson. Mjgiium. bottom Paul Schutzer,
Mu*eum . 4 San FruKnco. A«*hcnluxh FiutvJj|>>n S7 HITII,. . iwheid. Loui<t;lk 1 '-.ww f - * — . i ' Ss
Lllf; l 6 l : W Eugene Smith. L i l t . Center for Cre
far Graph* A m . J*» top B u m s R—v.. John F j b n top Robert Capi. Mj<m;m. bottom O Rurh (Vkin.
C<4kM»m. tciHm WiHiani Wjinckc. I W INiUnh- 89: Nuu Lern. Lirt. m\top Henn CaRierBnrtson. HOT PlkHi-GHPFL. lil,*,X . I»>2 I li«i \|.l ( l U l l i . M u
irucCo (New Vork tt'orUS, 4k\np James l i v e , I b m Mogniui:. bottom |ohn \'j.hoii. l.ih'jivol'Ci-nKrrss, num; I b 3 : William A n . l e i . , H A I * . 1 6 4 : Stuart
Rarwiiti lluinmilKs Kcseir.h CenWr. I*. DCTCSJ- JI *)] Milton »-|Vie l Bionks. *r,A\ide Work!. -The Franklin. Magnum. Iw> Man Ellen k f e M A m
_

Auotm. bottom June. Hare. H a m Kansoni Human l>err:iit A T ; ; * ! ; **2 Ni> Faihrun. L i n ; 9 3 M K H C O B 167 Alex Webb. M...,. „ . |6S Sebaioao Saagodic
itie* Rr*cjr»h Center, V •• l<•» • at Autlin; 4 1 : Carrier-BrcMon, Migimm, bottom P i m m Kcsscl. Magnum, 1 6 ° Jime* N*.hrwo. Magnum: 170 top
Roland \V ReeJ. Nitiooal » .'/'.i|>l 1 . . 42: Hjilan L n i ; *>-i- Nina l.rcn, I . i n , 'IS Arthur Rothstcin. urudcniil'icd phototfupher. Ulmt-jfJ Lamht StVK
A Mar-loll. Iihun ,it Connress. 4 3 u n w l e n t i t i c i l
1 Lihan ot I'ongirss, Wttop. Matgirel hWirke-White, fatftam unulentilied photographer. C S Arm* Signal
photographti. i i't Bcitnuim. uniJen titled L O K bottom. uiudnilirWtl photn.iipliei. "~ \p MAT- C'leps; 171 top pbnto-ilhntrahon In Man Mahunn
U«el B".irse While. LlH, farftcm Moieairl B«uikr Mr. bottom Paul lligdon, N e w York Timet,
phohigiaphet. I ' i n l r t w - I U T J cV l'ndetwt>oJ, 44 4s Wh.tr. I a i r , **8 Aithur K 1 . 1 Ijhriry ol Con- 172: Alexandra As.ikt.in. Woodlin Camp, 171: AJtred,
unidentitied pli..i.^i.pl.n. Impi-rial U ' J I M u * i « n i . gress; tt ff Wi'krr F . v j n t , Library of ConfnTu; strA. 174 Siqiluiit Compoint. Signio; 17s y.p Sine
London; 4 4 I-;r ><• unidentitied phiHo(jupliet,
1.1**. TiMt, bottom David lumlev, Detroit free l*rtt*.
l^ndcrwood I'rwlcrwoud. 4S faoium. urudcnCtied
Black Star. 176 t-.p Ron Haviv. MY; faotrem Susan
P H - i l . i f jplif 1. I'liilcrwood 5i UmleimttHi, 4o lap Ri.**cll I e< I - 0 1 I t ' : . - |X^i<hei l.u«e.
Meisela*. Magnum. 177 P411I Wat*on, Tmonto Su>.
unidentilird nhotugraphet. Underwood I'nJrr Lmriry *>( Cor<re»». bottom I'JUI T « l o r . » the
S\gi-»j l7*;v'hii*t.n<lici \l.mis. Bb.k Sur, 1 " " . ' /
wiatj, 46 bottom, uluik'ititw J ph,>fttj)'hct. Impeti- FXwnthcj L-nce C..:ievl-Hi. rhe (>AUr>d Museum
Rama/an I'/tuik. MP A; bottom Antmnc Gyori.
il \Vu Museum. Lond.wi. 47 uimlttmlicj photogra- 1 I I r • I I . • rC.wcrrs*, 102: Kcbo
Sygma: ISO: Kevin Carter, Svgma: 181 James
pher. I'ltJetwotJ X |IIHIC>M>-*I. a* ..iiulrntiticd " > 1 11 :icti n..ri< !• i i - M - . ' N e w s I ' l . . - - 103: Noshtwev Magnum 182 Ed Cams-n. *>*ngc C.min-
|4*otogTjpher. Impriul Wtt M a M M , London; 4V iinklrmilicil I ' S Nj*\ phofoerjpher. 0 1 Berminn. l» Rrr^tf. HMi 183 top Eugene Hachard*. MAgnuiu.
unidentitied photnguphrr. N IT \i, hi*T*—U.S. IIV4 R,ihrn I .1-l»en. (.<* Angele* I'lmrx 105 top 183 bottom StesT I J * ^ TlMI. 184 Das>J Burnelt.
War LVpc; SO top Mm r A l i . bottom unkfennricd Robert Capi. Magnum, btttom Rjlph Morse. L i n . Contaci l*re*i I 1 .. |8S J*,k Smith. Ar World-
ph,>i<I^rjphei. s | tof> uniJentilieii phuloguphci. top Charles k e r l r r , U.S Nj\*t Photo; I On tvttvm wide. lsVi l)Akl(iiUrrte,(.iammaLiar*>«t. 1*7 I a n
Impriii W'AI \lu<euni. LoMtflSC AfMM H i ' T J . e
1 Cecil Beaton, SotlKb)** l.imdon, 107 John loplum. rmWiret.. Palm Bea.h /'. •'. Svgma. If-S Charles II
Ni.'holl*. Imperial W J I Mu-rum. I.amdon; 5 2 : • H'l'IWttinaiut liilein.itiooal New* l l n t o . 108: Ot N rWtet IV. Svgma. ISv Steve L»*«. 1 IMI
umdentiln.i phiiionrapher, I'T.. 1 • r »H1 & Under- Tim ( i i d a l , BiKl.n>hiv l'reu*>i>tlier knl!'.i Besit/,

too
INDEX
Aaron i, Slim ISO » - W - r . . ft 1411 11.. , . if I '.<,. I>..,».|- 7\ I 12$, (»imcf. M i n n . . C I ihmii.rs. Irani« II.tii-1 hi. 17
mkm, Hrtiiiair Mi A'jkstiu 140 117.I» (it*... l i t u 122

Aa-atla.' m% i i i i L k i h * faf *7 i— w-.-, 12* i i 2 I in.) II.-«1 •« Mil (••uit.faanriij Hla.anS 10,11 tWik-a,)amr.M 14V
AK. S.mUl It. &M IV Mam M, IK (ittal HII'IA * I*. I * , 2*. 12, 11. * * , k: \ . " . . • 'I
W Ncmpai t un • 12 SMM U a H i - i i i i i HMVC * * M i MAIM *0.*1.71.10*. 107. I I * u a r w i i
Vl»t l~. MiiH-ia hm 74 14*. 1*2 I m i . I im>(f 11.12 Cm* F * w faN / M F I J - l KrCnoc H.-kI W a , I'm 1 74
AJmi*. I Pi. C'» 4«il BiiK»Ln(UMt>iiri'
( l «. /jit j'/w.-147,14«
I .ttn»l», I ' S i m i - AS! Ifti
CUMRV PkUtp [..•*. |2«
Ktrnrh |,*t. I 142.141.1*0
At... a 17,12V lhi. 177.1B2. III I2B Ki-™Ja Ikakm F 141
IV.An... ' . ' Canal« f itjiiUf. llan4J M I iudai anal 104

c—1*2 l . p . . ICaSm 7 1 . i l . 10*. I I * . 128 I r t i ^ l*. 1 7 X |»fc

r J i i M i . ti i h j I — » t f - Ahttt 114 » . M B . I H I7t
k n t t t w l W i i n 14*
Mi a Ctrtrt. Kevin I * ) ( M M * * , AIM 71, 71,7*. 7*. H> <;>.'. A w . - . I T »

A«n™. I V M * I.* t Bti.-m,

ll<mi 7J. 77. •» 411. 121. H i
AIII* lt>S 11.110,12V 1 2 7 . 1 " . Jt4i itv. I itMi. M m i H l l a u l n M 117
(.rtatrJ \i-*t.a 1*7. IT* IJh Mmw I — N r . V t i l lijrt> :*«. 1*7 Rraxl. I )n . ' i . lid. I l l
\i-« i%i-vt i w - a » s«, K llal~. (.)<-< | B t . W
'r Ii im. r u m i u
M

Ak Muhammad 11: T ' . . - I . 4* F 1 1 1 KhaUlrv \,s .,» f IIV

< ' - - • •. *mj ftV - - -. » I M I I M 12J lluilifili.T^n** It* Km;. Rmliirt 112
AHml1' M-mli H-a.Ul.itf 1W I V " * . MMIVI t <cnc 12. J* • |trii>ltfr.hVI.I4* llatr. |w»a M. 40 I .1 • V. . . 1*4
All V«l. iiri1141lK*
M
Catoawu KrtM. l i b i t 121 /la-T-i 1 * - i * a - 110, 127 nii.-nn. I ri. Ii. 1
\,. ... i«.si.. I M
M fire Ik I ' i' Hi I " 1 -X.-r.V7. 121.11* 117
Am«**m*. / V 127 IX! l i n n , Wdktt 71. W, W. 127 f b t ^ ' . H W t i i l i l , 17, U.*« k ... - . Wm 11V 121.127.117.14V
t-'iJllt. V«M<
" ( h m i ' < i r W i n .ii I h . i . l l " 111 THITMIK., Il.-wlj. 4*1
Alulrr> William I'll
1

Aiulrium. Map i k-JBII In
An*, hm. 11'i in. ..'
k - i * « . i Vrfrant Km 171
Maviv k-in I7i.
COMM IV17, * * . 71,00,1 Ml. 1*1 I V m i t t , N H *1
K U Kkai Klan ••• t'•.tail Stjaol
H.i|.». 1*0. lb* H.-I.I.WJlutl, K4-,JlJ|€' J . 4

111 .1 Snmiti Al'iiii iiialiini JVA1

AiiI.ii I- 41 limit. \itu>i*lnl Ml IfaV 71.77.WI. Mil. III. 14"
*7 KaarJ. 171
k^..i V)1 It.lrfal Am IV..».t. »
llru.l Mni.tin. W i l
Am, hu-.fi* JnMHWlM 121 K*-v4mi. •> I Ml KU«. Aitf-4i t*W««>t-*} U
lltjnl.!rU, UJ.„ 711 KvwM 174

1i. i ip.i, i M -..J... •' F u f . i W . 11.12.11.14.11

lti4ah.VM.KO
.haw* I V . / . . - . - / 79 si mi (in. l t . j i . * l m ImkatMol k mr 11
I I - - i f . 1.1. I I . I 1*
/»Va*ll7
U f M l A N - . 10

i.-.i ni2 101 1 uauntTMii Vf.an Iftl F«Us<>*l. 1W M«>..rwi;i I .ii|tr. IkaiKhri 71.10, l l « . 101. 1*7
A—» M*r*J fW. U, 41, Iff 121. 14V 1 41 I I 1 r 1 u I .-IT I " . . . h . , k . . . II
| lav 157 i w . ia. w—... i n FlWalvd Iftl
M*4<t*>' *l
Mm. rani 17
I
<

* V * 2 * 1 . 71.1*1
1 jnfir.ilanm, VA'llUain 11
mm
A» . -a'.-a * tW G n i v ISra. t l « n > awl«o»» DI 4?. 77 A M 73 It . J«a- I - L m I
I I2v
l i a n i . KaJtaHd llot Ik
rh< Kit K 71 I'rnl n^rtt R»~>n*ni 1 » 147. 14-t hit J . I .*7ata>. 17*.
H-ltt, AtUl 71.71.74,77. |0R. 10* af mm? A—ipUi 7*
I n J »* I'ml IVii tw* I . . . . . . -.in, • laxJ ( m i k>.~c> pLatl "*l. 121 1
AWR.
A . U |H. |M tmmm,tmtB i)» IULmJ 74 lb*. 1*7
H Ii.-- ' ' IW Wl. In*
At.anh.n4i mi 1 II t'.lUt. tt*«n li laid I'- . iai M. 1,' i'.a
Alum I-"J tea 122 CJW*. II. 12, I*. I."* I . . , :i . • |>. i u Itlfc—y l » , . f i V\'..iJrll It. 20
I i n. * 1 11
Au.t.ian I lilana 47 I ' - U - . 4 k . n . i II I * l - n . t I I . 17.27. W.70.74.12«
Ibm-kaa * * . IK. *1
lj Ha4
jRIBJAW
> tin$%f*fi I J
M i l l Mran.lia 171 CalaaAa* l'™»«n«i * R , 7 l , * t ,A<aJtmi n| V t i n * * *> IUtaralta.1. 1 1 t-la 11*
Laawn. llhiataui Ihmh 7l), 141,172
I'• n^«-iii. stipli.iw 174 Aimw Vunl ijwutml aiuJIH 4*
Humi/ (.'ttaiaW 77
I .nl...... N Vt 1* 17
•umi.ii. i-utt i i ; o L'i*nrni»i>nntiiin> I M . I I h Al|- 27 li-iiVi lifk-ftttJM-ntft .12,11
ItJ Ala., (MI 1 iiii-.au WtO L'«KK Kui ?J AiH/Hita liff.l Ml I In* ant TiNT. * I. 71 t t w p a . IVf.lmirtJ.lf 17
Balk-.. II. It. 167. 17B. t71 l«"J AllB J* All 4' 4*1 l l . l m . H . 4 - « I " lb /.^.sa*/*,. i ; . 2*
N . t 27 //« Ik, OM-r ItUV / . » , * i , hi
H J t l ' H H I t> . I tlMtn III l i ' . r - . I ...ii iaL> 4V
0 « M IV>. Itnip. 1 III Pmu 1.1,1*. IV 71. 77. II* U»*f-n' I*
HwrUk.l. Iti.'. I*^ t 2 x , m im
1 ••• 71, 74,7b, 77. HI. B*. v*.97, «t.
Barta-U-o-K. 20.21 li„i.*.i.i.*
Itiit't-jnt Ai-Ikm
* . •
lib
«» 101. i i * . 117.IV. HI. 12V127.
S a n 27
K a m a * ! . 1 4 It.. JO ('•araral. Smi 1II V*a« 4*>ra« 127
t
H . - m r ; S.U.ii, '. ~i 1
l ' . - . l - t d . Hanwt IT ! . * « * . IL.V-t I2\ 1*7 ll.sii. , . . , ! . « * I -,i i . . . . i.
BR«,(RKR|( (.'nth. Ml, 111 1,1,1 _ -....ii |a.. lr-h^Vt-r-72.71 I i-JN haki kiafcuni fcj Otd 1*B
Hm.*. 1..J
|Ok I ' n a l m til InvO. Uaafttaal t V 129.147 llaa... U . U L - S w 17*. 112. in
*V«w. bkafa-* ftt T\74 CfMftn>W«ll U , I f 114 l-'iwdUatdn. 1 m 141,1*7 /.'..-•..• J D - n , M lank kt.k 12*
CttHb.171 I IWVKNIMI. I naka I j W {an i acw. Ifc.4r.n-J | « . , , » . r W t t t a p k , I .alb. I nL.nal \ r i i m i*(p» I lb
CuVi 1* R>4>nt) Sayyk l a 14 I I.I )••!.: I IMl
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Walvitu Paul 176
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WtNl. A l a 166.1*7
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Bi..4hn» 151
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