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Images That Changed The World?-Words Are Never Enough

 

Federal Dead on the Field of Battle of First Day, Gettysburg, Pennsylvania[1863]

 By Mathew Brady

 

As one of the world’s first war photographers, Mathew Brady didn’t start out having as action-packed a career as you might think. A successful daguerreotypist and a distinguished gentleman, Brady was known for his portraits of notable people such as Abraham Lincoln and Robert E. Lee. In other words, he was hardly a photojournalist in the trenches.

 

In fact, Brady had everything to lose by making a career move - his money, his business, and quite possibly his life. Nevertheless, he decided to risk it all and follow the Union Army into battle with his camera, saying, "A spirit in my feet said, ‘Go!’" And go he did - at least until he got a good look at the pointy end of a Confederate bayonet.

 

After narrowly escaping capture at the first Battle of Bull Run, Brady’s chatty feet quieted down a bit, and he began sending assistants in his place. In the span of only a few years, Brady and his team shot more than 7,000 photographs - an astounding number when you consider that developing a single plate required a horse-drawn-wagon-full of cumbersome equipment and noxious chemicals. Not exactly what you’d call "point-and-shoot."

 

Tethered as he was to his equine-powered darkroom and with film speeds being much slower then, Brady produced war photos that are understandably light on the action and heavy on the aftermath. Still, they mark the first time Americans were so immediately confronted with the grim realities of the battlefield.

 

First Flight[1903]

By John T. Daniels

 

December 17, 1903 was the day humanity spread its wings and rose above the ground - for 12 seconds at first and by the end of the day for almost a minute - but it was a major breakthrough. Orville and Wilbur Wright, two bicycle mechanics from Ohio, are the pioneers of aviations, and although this first flight occurred so late in history, the ulterior development was exponential.

 

Triangle Shirtwaist Company Fire[1911]

 

The Triangle Shirtwaist Company always kept its doors locked to ensure that the young immigrant women stayed stooped over their machines and didn't steal anything. When a fire broke out on Saturday, March 25, 1911, on the eighth floor of the New York City factory, the locks sealed the workers' fate. In just 30 minutes, 146 were killed. Witnesses thought the owners were tossing their best fabric out the windows to save it, then realized workers were jumping, sometimes after sharing a kiss (the scene can be viewed now as an eerie precursor to the World Trade Center events of September, 11, 2001, only a mile and a half south). The Triangle disaster spurred a national crusade for workplace safety.

 

뉴욕 시의 한 공장에서 일어난 대화재(1911. 3. 25)는 146명의 인명을 앗아갔다. 희생자 대부분은 미국으로 이주해온 젊은 여성이었다. 이 사건으로 인해 미국에서는 보다 안전한 근로 조건을 창출하기 위한 국민 운동이 일어났다. 불은 워싱턴 광장 공원 동쪽에 있는 애쉬 빌딩 8층에서 발화(發火)하여 빠른 속도로 빌딩의 꼭대기로 번져 나갔다. 어떤 노동자들은 도난 방지를 위해 폐쇄시킨 출입구를 여는 방법을 몰라 창문으로 뛰어내리다가 목숨을 잃었다. 출동한 소방차의 사다리는 6층까지밖에 닿지 못해 거의 도움을 주지 못했다. 이 재앙은 공장화재법과 아동근로법을 포함한 건강 및 안전법의 제정을 가져왔으며, 훗날 노동법을 구체화시키는 데 도움을 주었다.
  

Le Violon d’Ingres[1924]

 

By Man Ray

 

Before there was photoshop, there was Man Ray. one of the world’s most original photographers, Ray was tireless experimenter. In fact, his work was so inventive that he eventually left the camera behind altogether, creating his surreal "Rayographs" entirely in the darkroom.

 

"Le Violon d’Ingres" is perhaps his best-known photograph, and one of his earliest. Like many pieces from the Dada movement (which Ray is credited with bringing to the United States), it’s a visual pun. By drawing f-holes on his model’s back, he points out the similarities between the body of a woman and the body of a violin. But it’s a literal pun, as well. Both the model’s dress and pose echo a famous painting by French artist Jean-Auguste-Dominiqe Ingres, whose hobbies were depicting female nudes and playing the violin.

 

More than just highbrow it, however, Ray’s work was far ahead of its time. By ridiculing a now-obsolete concept - the photographic image as literal interpretation of reality - his pictures foreshadowed our own digital revolution.

 

The lynching of young blacks[1930]

By Lawrence Beitler

 

This is a famous picture, taken in 1930, showing the young black men accused of raping a Caucasian woman and killing her boyfriend, hanged by a mob of 10,000 white men. The mob took them by force from the county jail house. Another black man was left behind and ended up being saved from lynching. Even if lynching photos were designed to boost white supremacy, the tortured bodies and grotesquely happy crowds ended up revolting many.

 

 Loch Ness Monster-a.k.a.-The Surgeon’s Photo[1934]

By Ian Wetherell

 

While strange sightings around Scotland’s murky Loch Ness date back to 565 C.E., it wasn’t until photography reached the Loch that Nessie Fever really took off. The now-legendary (and legendarily blurry) "surgeon’s photo," reportedly taken in April of 1934, fueled decades of frenzied speculation, several costly underwater searches, and a local tourism industry that rakes in several million dollars each year.

 

But the party almost ended in 1994, when a report was published saying that model-maker Christian Spurling admitted to faking the photo. According to Spurling’s statement, his stepfather, Marmaduke Wetherell, worked as a big game hunter and had been hired by London’s Daily Mail to find the beast. But rather than smoke out the creature, he decided to fake it. Wetherell, joined by Spurling and his son, Ian, built their own monster to float on the lake’s surface using a toy submarine and some wood putty. Ian actually took the photo, but to lend more credibility to the story, they convinced an upstanding pillar of the community - surgeon Robert Kenneth Wilson - to claim it as his own. Just goes to prove the old adage, "The camera never lies." People, on the other hand, do.

 

Lunch atop a Skyscraper[1932]

 

Lunch atop a Skyscraper (New York Construction Workers Lunching on a Crossbeam) is a famous photograph taken by Charles C. Ebbets during construction of the GE Building at Rockefeller Center in 1932.

The photograph depicts 11 men eating lunch, seated on a girder with their feet dangling hundreds of feet above the New York City streets. Ebbets took the photo on September 29, 1932, and it appeared in the New York Herald Tribune in its Sunday photo supplement on October 2. Taken on the 69th floor of the GE Building during the last several months of construction, the photo Resting on a Girder shows the same workers napping on the beam.

 

Here's a rare image by the same photographer showing the workers sleeping on the crossbeam.

Spain[1936]

 

By Cerro Muriano

 

Federico Borrell Garcia, Spanish loyalist militiaman, collapses into death.

 

Migrant Mother[1936]

 

For many, this picture of Florence Owens Thompson (age 32) represents the Great Depression. She was the mother of 7 and she struggled to survive with her kids catching birds and picking fruits. Dorothea Lange took the picture after Florence sold her tent to buy food for her children. She made the first page of major newspapers all over the country and changed people's conception about migrants.-By Dorothea Lange

 

As era-defining photographs go, "Migrant Mother" pretty much takes the cake. For many, Florence Owens Thompson is the face of the Great Depression, thanks to legendary shutterbug Dorothea Lange. Lange captured the image while visiting a dusty California pea-pickers’ camp in February 1936, and in doing so, captured the resilience of a proud nation facing desperate times.

 

Unbelievably, Thompson’s story is as compelling as her portrait. Just 32 years old when Lange approached her ("as if drawn by a magnet," Lange said). Thompson was a mother of seven who’d lost her husband to tuberculosis. Stranded at a migratory labor farm in Nipomo, Calif. her family sustained themselves on birds killed by her kids and vegetables taken from a nearby field - as meager a living as any earned by the other 2,500 workers there. The photo’s impact was staggering. Reproduced in newspapers everywhere, Thompson’s haunted face triggered an immediate public outcry, quickly prompting politicos from the federal Resettlement Administration to send food and supplies. Sadly, however, Thompson and her family had already moved on, receiving nary a wedge of government cheese for their high-profile misery. In fact, no one knew the identity of the photographed woman until Thompson revealed herself years later in a 1976 newspaper article.

 

Hindenburg[1937]

 By Murray Becker

 

Forget the Titanic, the Lusitania, and the comparatively unphotogenic accident at Chernobyl. Thanks to the power of images, the explosion of the Hindenburg on May 6, 1937, claims the dubious honor of being the quintessential disaster of the 20th century.

 

In the grand scheme of things, however, the Hindenburg wasn’t all that disastrous. Of the 97 people aboard, a surprising 62 survived. (in fact, it wasn’t even the worst Zeppelin crash of the 20th century. Just four years earlier, the U.S.S. Akron had crashed into the Atlantic killing more than twice as many people.) But when calculating the epic status of a catastrophe, terrifying photographs and quotable quotes ("Oh, the humanity!") far outweigh body counts.

Assembled as part of a massive PR campaign by the Hindenburg’s parent company in Germany, no fewer than 22 photographers, reporters, and newsreel cameramen were on the scene in Lakehurst, N.J. when the airship went down. Worldwide publicity of the well-documented disaster shattered the public’s faith in Zeppelins, which were, at the time, considered the safest mode of air travel available.

 

During the 1920s and 1930s, Zeppelins had operated regular flights, totting civilians back and forth between Germany and the Americas. But all of that stopped in 1937. The incident effectively killed the use of dirigibles as a commercially viable mode of passenger transport, ending the golden age of the airship not with a whimper, but with a horrific bang that was photographed and then syndicated around the globe.

 

Anne Frank[1941]

 

Six million Jews died in the Holocaust. For many throughout the world, one teenage girl gave them a story and a face. She was Anne Frank, the adolescent who, according to her diary, retained her hope and humanity as she hid with her family in an Amsterdam attic. In 1944 the Nazis, acting on a tip, arrested the Franks; Anne and her sister died of typhus at Bergen-Belsen only a month before the camp was liberated. The world came to know her through her words and through this ordinary portrait of a girl of 14. She stares with big eyes, wearing an enigmatic ｅxpression!!, gazing at a future that the viewer knows will never come.

 

Portrait of Winston Churchill[1941]

 

This photograph was taken by Yousuf Karsh, a Canadian photographer, when Winston Churchill came to Ottawa. The portrait of Churchill brought Karsh international fame. It is claimed to be the most reproduced photographic portrait in history. It also appeared on the cover of Life magazine.

 

The Tetons-Snake River[1942]

 

 By Ansel Adams

 

Some claim photography can be divided into two eras: Before Adams and After Adams. In Times B.A., for instance, photography wasn’t widely considered an art form. Rather, photographers attempted to make their pictures more "artistic" (i.e., more like paintings) by subjecting their exposures to all sorts of extreme manipulations, from coating their lenses with petroleum jelly to scratching the surfaces of their negatives with needles. Then came Ansel Adams, helping shutterbugs everywhere get over their collective inferiority complex.

 

Brashly declaring photography to be "a blazing poetry of the real," Adams eschewed manipulations, claiming they were simply derivative of other art forms. Instead, he preached the value of "pure photography." In an era when handheld point-and-shoot cameras were quickly becoming the norm, Adams and other landscape photographers clung to their bulky, old-fashioned large-format cameras. Ultimately, Adams’ pictures turned photography into fine art. What’s more, they shaped the way Americans thought of their nation’s wilderness and, with that, how to preserve it.

 

Adams’ passion for the land wasn’t limited to vistas he framed through the lens. In 1936, he accompanied his photos to Washington to lobby for the preservation of the Kings Canyon area in California. Sure enough, he was successful, and it was declared a national park.

 

Dead on the Beach[1943]

By George Strock

 

Haunting photograph of a beach in Papua New Guinea on September 20, 1943, the magazine felt compelled to ask in an adjacent full-page editorial, "Why print this picture, anyway, of three American boys dead upon an alien shore?" Among the reasons: "words are never enough ....."

 

Omaha Beach, Normandy, France[1944]

By Robert Capa

 

'If your pictures aren’t good enough,' war photographer Robert Capa used to say, "you aren’t close enough." Words to die by, yes, but the man knew of what he spoke. After all, his most memorable shots were taken on the morning of D-Day, June 6, 1944, when he landed alongside the first waves of infantry at Omaha Beach.

 

Caught under heavy fire, Capa dove for what little cover he could find, then shot all the film in his camera, and got out - just barely. He escaped with his life, but not much else. Of the four rolls of film Capa took of the horrific D-Day battle, all but 11 exposures were ruined by an overeager lab assistant, who melted the film in his rush to develop it. (He was trying to meet the deadline for the next issue of Life magazine.)

 

In an ironic twist, however, that same mistake gave the few surviving exposures their famously surreal look ("slightly out of focus," Life incorrectly explained upon printing them). More than 50 years later, director Steven Spielberg would go to great lengths to reproduce the look of that "error" for his harrowing D-Day landing sequence in "Saving Private Ryan," even stripping the coating from his camera lenses to echo Capa’s notorious shots

 

Nagasaki[1945]

 

This is the picture of the "mushroom cloud" showing the enormous quantity of energy. The first atomic bomb was released on August 6 in Hiroshima (Japan) and killed about 80,000 people. on August 9 another bomb was released above Nagasaki. The effects of the second bomb were even more devastating - 150,000 people were killed or injured. But the powerful wind, the extremely high temperature and radiation caused enormous long term damage.

 

Hiroshima, Three Weeks After the Bomb[1945]

 

Americans -- and everyone -- had heard of the bomb that "leveled" Hiroshima, but what did that mean? When the aerial photography was published, that question was answered.

 

 

And here is a ground view of the destruction.

Buchenwald[1945]

 

George Patton's troops when they liberated the Buchenwald concentration camp. Forty-three thousand people had been murdered there. Patton was so outraged he ordered his men to march German civilians through the camp so they could see with their own eyes what their nation had wrought.

V-J Day, Times Square[1945]

By Alfred Eisenstaedt

 

"The Kiss", at the end of World War II, in US cities everybody went to the streets to salute the end of combat. Friendship and unity were everywhere. This picture shows a sailor kissing a young nurse in Times Square. The fact is he was kissing every girl he encountered and for that kiss, this particular nurse slapped him.

 

On August 14, 1945, the news of Japan’s surrender was announced in the United States, signaling the end of World War II. Riotous celebrations erupted in the streets, but perhaps none were more relieved than those in uniform. Although many of them had recently returned from victory in Europe, they faced the prospect of having to ship out yet again, this time to the bloody Pacific.

 

Among the overjoyed masses gathered in Times Square that day was one of the most talented photojournalists of the 20th century, a German immigrant named Alfred Eisenstaedt. While snapping pictures of the celebration, he spotted a sailor "running along the street grabbing any and every girl in sight." He later explained that, "whether she was a grandmother, stout, thin, old, didn’t make any difference."

 

Of course, a photo of the sailor planting a wet one on a senior citizen wouldn’t have made the cover of Life, but when he locked lips with an attractive nurse, the image was circulated in newspapers across the country. Needless to say, "V-J Day" didn’t capture a highly anticipated embrace by long-lost lovers, but it also wasn’t staged, as many critics have claimed. In any case, the image remains an enduring symbol of America’s exuberance at the end of a long struggle.

 

U.S. Marines raising the flag on Iwo Jima[1945]

 By Joe Rosenthal

 

Raising the Flag on Iwo Jima is a historic photograph taken on February 23, 1945, by Joe Rosenthal. It depicts five United States Marines and a U.S. Navy corpsman raising the flag of the United States atop Mount Suribachi during the Battle of Iwo Jima in World War II.

The photograph was extremely popular, being reprinted in thousands of publications. Later, it became the only photograph to win the Pulitzer Prize for Photography in the same year as its publication, and ultimately came to be regarded as one of the most significant and recognizable images of the war, and possibly the most reproduced photograph of all times.

 

Gandhi at his Spinning Wheel[1946]

By Margaret Bourke-White 

 

"Gandhi at his Spinning Wheel," the defining portrait of one of the 20th century’s most influential figures, almost didn’t happen, thanks to the Mahatma’s strict demands. Granted a rare opportunity to photograph India’s leader; Life staffer Margaret Bourke-White was all set to shoot when Gandhi’s secretaries stopped her cold: If she was going to photograph Gandhi at the spinning wheel (a symbol for India’s struggle for independence), she first had to learn to use one herself.

 

But that wasn’t all. The ascetic Mahatma wasn’t to be spoken to (it being his day of silence.) And because he detested bright light, Bourke-White was only allowed to use three flashbulbs. Having cleared all these hurdles, however, there was still one more - the humid Indian weather, which wreaked havoc on her camera equipment. When time finally came to shoot, Bourke-White’s first flashbulb failed. And while the second one worked, she forgot to pull the slide, rendering it blank.

 

She thought it was all over, but luckily, the third attempt was successful. In the end, she came away with an image that became Gandhi’s most enduring representation. it was also among the last portraits of his life; he was assassinated less than two years later.

 

Poland, Teresa[1948]

By David Seymour 

 

A child in a residence for disturbed children, grew up in a concentration camp. She has drawn a picture of “home” on the blackboard.

 

Dalí Atomicus[1948] 

 By Philippe Halsman

 

Philippe Halsman is quite possibly the only photographer to have made a career out of taking portraits of people jumping. But he claimed the act of leaping revealed his subjects’ true selves, and looking at his most famous jump, "Dalí Atomicus," it’s pretty hard to disagree.

 

The photograph is Halsman’s homage both to the new atomic age (prompted by physicist’ then-recent announcement that all matter hangs in a constant state of suspension) and to Dalí’s surrealist masterpiece "Leda Atomica" (seen on the right, behind the cats, and unfinished at the time). It took six hours, 28 jumps, and a roomful of assistants throwing angry cats and buckets of water into the air to get the perfect exposure.

 

But before settling on the "Atomicus" we know today, Halsman rejected a number of other concepts for the shot. one was the idea of throwing milk instead of water, but that was abandoned for fear that viewers, fresh from the privations of World War II, would condemn it as a waste of milk. Another involved exploding a cat in order to capture it "in suspension," though that arguably would have been a waste of cats.

 

Halsman’s methods were as unique as they were effective. His celebrity "jump" portraits appeared on at least seven Life magazine covers and helped usher in a new - and radically more adventurous - era of portrait photography.

 

North Carolina[1950]

By Elliott Erwitt

 

A black man drinks at segregated water fountains.

 

Albert Einstein[1951]

By Arthur Sasse

 

Albert Einstein is probably one of the most popular figures of all times. He is considered a genius because he created the Theory of Relativity, and so, challenged Newton's laws, that were the basis of everything known in physics until the beginning of the 20th century. But, as a person, he was considered a beatnik, and this picture, taken on March 14, 1951 proves that.

 

You may appreciate this memorable portrait as much as the next fellow, but it’s still fair to wonder: "Did it really change history?" Rest assured, we think it did. While Einstein certainly changed history with his contributions to nuclear physics and quantum mechanics, this photo changed the way history looked at Einstein. By humanizing a man known chiefly for his brilliance, this image is the reason Einstein’s name has become synonymous not only with "genius," but also with "wacky genius."

 

So why the history-making tongue? It seems Professor Einstein, hoping to enjoy his 72nd birthday in peace, was stuck on the Princeton campus enduring incessant hounding by the press. Upon being prodded to smile for the camera for what seemed like the millionth time, he gave photographer Arthur Sasse a good look at his uvula instead. This being no ordinary tongue, the resulting photo became an instant classic, thus ensuring that the distinguished Novel Prize-winner would be remembered as much for his personality as for his brain. 

 

Hazel Bryant[1957]

By Will Counts

 

It was the fourth school year since segregation had been outlawed by the Supreme Court. Things were not going well, and some southerners accused the national press of distorting matters. This picture, however, gave irrefutable testimony, as Elizabeth Eckford strides through a gantlet of white students, including Hazel Bryant (mouth open the widest), on her way to Little Rock's Central High.

 

Sharpeville, South Africa[1960]

By Ian Berry

 

 

Police open fire on a crowd, killing more than 70 and injuring hundreds of others during what came to be known as the Sharpeville massacre.

 

Washington, D.C.-Martin Luther King[1963]

By Bob Adelman

 

At the climax of his “I Have A Dream” speech, Martin Luther King Jr. raises his arm on the steps of the Lincoln Memorial and calls out for deliverance with the electrifying words of an old Negro spiritual hymn, “Free at last! Free at last! Thank God Almighty, we are free at last!”.

 

Thích Quảng Đức[1963]

By Arthur Sasse

 

Thích Quảng Đức was a Vietnamese Buddhist monk who burned himself to death at a busy Saigon intersection on June 11, 1963. His act of self-immolation, which was repeated by others, was witnessed by David Halberstam, a New York Times reporter, who wrote:

" I was to see that sight again, but once was enough. Flames were coming from a human being; his body was slowly withering and shriveling up, his head blackening and charring. In the air was the smell of burning human flesh; human beings burn surprisingly quickly. Behind me I could hear the sobbing of the Vietnamese who were now gathering. I was too shocked to cry, too confused to take notes or ask questions, too bewildered to even think.... As he burned he never moved a muscle, never uttered a sound, his outward composure in sharp contrast to the wailing people around him."

How Life Begins [1965]

 By Lennart Nilsson

 

In 1957 he began taking pictures with an endoscope, an instrument that can see inside a body cavity, but when Lennart Nilsson presented the rewards of his work to LIFE's editors several years later, they demanded that witnesses confirm!! that they were seeing what they thought they were seeing. Finally convinced, they published a cover story in 1965 that went on for 16 pages, and it created a sensation. Then, and over the intervening years, Nilsson's painstakingly made pictures informed how humanity feels about . . . well, humanity. They also were appropriated for purposes that Nilsson never intended. Nearly as soon as the 1965 portfolio appeared in LIFE, images from it were enlarged by right-to-life activists and pasted to placards.

 

Arlington, Va[1967]

By Marc Riboud

 

Jan Rose Kasmir confronts the National Guard outside the Pentagon during the 1967 anti-Vietnam War march. 

 

The Corpse of Che Guevara[1967]

By Freddy Alborta

 

Sociopathic thug? Socialist luminary? Or as existentialist Jean-Paul Sartre called him, "the most complete human being of our age"? Whatever you believe, there’s no denying that Ernesto "Che" Guevara has become the patron saint of revolutionaries. Undeniably, he is a man of mythical status - a reputation that persists less because of how he lived than because of how he died.

 

Unenthused by his efforts to incite revolution among the poor and oppressed in Bolivia, the nation’s army (trained and equipped by the U.S. military and the CIA) captured and executed Guevara in 1967. But before dumping his body in a secret grave, they gathered around for a strategic photo op. They wanted to prove to the world that Che was dead, in hopes that his political movement would die with him. in fact, anticipating charges that the photo had been faked, Che’s thoughtful captors amputated his hands and preserved them in formaldehyde.

 

But by killing the man, Bolivian officials unwittingly birthed his legend. The photo, which circulated around the world, bore a striking resemblance to Renaissance paintings of Christ taken down from the cross. Even as Che’s killers preened and gloated above him (the officer on the right seems to be inadvertently pointing to a wound on Guevara’s body near where Christ’s final wound was inflicted), Che’s eerily peaceful face was described as showing forgiveness. The photo’s allegorical significance certainly wasn’t lost on the revolutionary protesters of the era.

 

They quickly adopted "Che lives!" as a slogan and rallying cry. Thanks to this photograph, "the passion of the Che" ensured that he would live on forever as a martyr for the socialist cause.

 

Paris-Student protest[1968]

By Bruno Barbey

 

Students hurl projectiles during the May 1968

 

Saigon, Vietnam[1968]

By Philip Jones Griffiths

 

The Saigon fire department, which has the job of collecting the dead from city streets, has just placed a girl, killed by U.S. helicopter fire, in the back of their truck, where her brother finds her.

 

Execution of a Viet Cong Guerrilla[1968]

By Eddie Adams

 

This picture was shot by Eddie Adams who won the Pulitzer prize with it. The picture shows Nguyen Ngoc Loan, South Vietnam's national police chief executing a prisoner who was said to be a Viet Cong captain. once again the public opinion was turned against the war.-By Eddie Adams

 

"Still photographs are the most powerful weapon in the world," AP photojournalist Eddie Adams once wrote. A fitting quote for Adams, because his 1968 photograph of an officer shooting a handcuffed prisoner in the head at point-blank range not only earned him a Pulitzer Prize in 1969, but also went a long way toward souring Americans’ attitudes about the Vietnam War.

 

For all the image’s political impact, though, the situation wasn’t as black-and-white as it’s rendered. What Adams’ photograph doesn’t reveal is that the man being shot was the captain of a Vietcong "revenge squad" that had executed dozens of unarmed civilians earlier the same day. Regardless, it instantly became an icon of the war’s savagery and made the official pulling the trigger - General Nguyen Ngoc Loan - its iconic villain.

 

Sadly, the photograph’s legacy would haunt Loan for the rest of his life. Following the war, he was reviled where ever he went. After an Australian VA hospital refused to treat him, he was transferred to the United States, where he was met with a massive (though unsuccessful) campaign to deport him. He eventually settled in Virginia and opened a restaurant but was forced to close it down as soon as his past caught up with him. Vandals scrawled "we know who you are" on his walls, and business dried up.

 

Adams felt so bad for Loan that he apologized for having taken the photo at all, admitting, "The general killed the Vietcong; I killed the general with my camera."
 

Earthrise [1968]

 

The late adventure photographer Galen Rowell called it "the most influential environmental photograph ever taken." Captured on Christmas Eve, 1968, near the end of one of the most tumultuous years the U.S. had ever known, the Earthrise photograph inspired contemplation of our fragile existence and our place in the cosmos. For years, Frank Borman and Bill Anders of the Apollo 8 mission each thought that he was the one who took the picture. An investigation of two rolls of film seemed to prove Borman had taken an earlier, black-and-white frame, and the iconic color photograph, which later graced a U.S. postage stamp and several book covers, was by Anders.

 

Biafra[1969]

By Don McCullin

 

When the Igbos of eastern Nigeria declared themselves independent in 1967, Nigeria blockaded their fledgling country-Biafra. In three years of war, more than one million people died, mainly of hunger. In famine, children who lack protein often get the disease kwashiorkor, which causes their muscles to waste away and their bellies to protrude. War photographer Don McCullin drew attention to the tragedy. "I was devastated by the sight of 900 children living in one camp in utter squalor at the point of death," he said. "I lost all interest in photographing soldiers in action." The world community intervened to help Biafra, and learned key lessons about dealing with massive hunger exacerbated by war-a problem that still defies simple solutions.

 

Kent State[1970]

 By John Paul Filo

 

The news that Richard Nixon was sending troops to Cambodia caused a chain of protests in the U.S. colleges. At Kent State the protest seemed more violent, some students even throwing rocks. In consequence, The Ohio National Guard was called to calm things down, but the events got out of hand and they started shooting. Some of the victims were simply walking to school. The photo shows 14-year-old Mary Ann Vecchio kneeling over the body of Jeffrey Miller who had been shot by the Ohio National Guard moments earlier.

 

Tomoko Uemura in Her Bath[1971]

 

Photograph taken by famed American photojournalist W. Eugene Smith in 1971. Many commentators regard Tomoko as Smith's greatest work. The black and white photo depicts a mother cradling her severely deformed, naked daughter in a traditional Japanese bathing chamber. The mother, Ryoko Uemura, agreed to deliberately pose the startlingly intimate photograph with Smith to illustrate the terrible effects of Minamata disease (a type of mercury poisoning) on the body and mind of her daughter Tomoko. Upon publication the photo became world famous, significantly raising the international profile of Minamata disease and the struggle of the victims for recognition and compensation. At the wishes of Tomoko Uemura's family, the photograph was withdrawn from further publication in 1997, 20 years after Tomoko's death.

 

Phan Thi. Kim Phúc[1972]

By Nick Út

 

Phan Thi. Kim Phúc known as Kim Phuc (born 1963) was the subject of a famous photo from the Vietnam war. The picture shows her at about age nine running naked after being severely burned on her back by a napalm attack.

 

Soweto Uprising[1976]

By Sam Nzima

 

It was a picture that got the world's attention: A frozen moment in time that showed 13-year-old Hector Peterson dying after being struck down by a policeman's bullet.

Mexico[1979]

By Alex Webb

 

Mexicans are arrested while trying to cross the U.S. border

 

Peshawar, Pakistan[1984]

By Steve McCurry

 

An Afghan girl at Nasir Bagh refugee camp.

 

Omayra Sánchez[1985]

By Frank Fournier

 

Red Cross rescue workers had apparently repeatedly appealed to the government for a pump to lower the water level and for other help to free the girl. Finally rescuers gave up and spent their remaining time with her, comforting her and praying with her. She died of exposure after about 60 hours.

New Brighton, United Kingdom[1985]

By Martin Parr

 

Tehran, Iran[1986]

By Jean Gaumy

 

Veiled women learn how to shoot in the outskirts of the city

 

Berlin[1989]

By Raymond Depardon

 

A young man bridges the wall between East and West Berlin

 

Tiananmen Square[1989]

By Stuart Franklin

 

 

By Jeff Widener 

 

This is the picture of a student/man going to work who has just had enough. The days leading up to this event thousands of protesters and innocent by standers were killed by their own government because the Chinese people wanted more rights. He tries to stop the tanks in Tiananmen Square by standing in front of them and climbed on the tank and hitting the hatch and yelling, the tank driver didn't crush the man with the bags as a group of unknown people came and dragged him away, we still don't know if the man is alive or dead as the Chinese government executed many of the protesters involved. China is still controlled by a communist regime, but while there are strong willed men like this the country still has hope.

 

Casualties of war[1991]

By David Turnley 

 

Image of a young US sergeant at the moment he learns that the body bag next to him contains the body of his friend, killed by "friendly fire".

The widely published photo became an iconic image of the 1991 Gulf war - a war in which media access was limited by Pentagon restrictions.

 

A vulture watches a starving child[1993]

 By Kevin Carter

 

The prize-winning image: A vulture watches a starving child in southern Sudan, March 1, 1993. Carter's winning photo shows a heart-breaking scene of a starving child collapsed on the ground, struggling to get to a food center during a famine in the Sudan in 1993. In the background, a vulture stalks the emaciated child.

Carter was part of a group of four fearless photojournalists known as the "Bang Bang Club" who traveled throughout South Africa capturing the atrocities committed during apartheid.

Haunted by the horrific images from Sudan, Carter committed suicide in 1994 soon after receiving the award.

Tragedy in Oklahoma[1995]

By Chris Porter 

 

The fireman has taken the time to remove his gloves before receiving this infant from the policeman. Anyone who knows anything about firefighters know that their gloves are very rough and abrasive and to remove these is like saying I want to make sure that I am as gentle and as compassionate as I can be with this infant that I don't know is dead or alive.

The fireman is just cradling this infant with the utmost compassion and caring.

He is looking down at her with this longing, almost to say with his eyes: "It's going to be OK, if there's anything I can do I want to try to help you."

He doesn't know that she has already passed away.

 

The Falling Man[2001]

 

The powerful and controversial photograph provoked feelings of anger, particularly in the United States, in the immediate aftermath of the September 11 attacks. The photo ran only once in many American newspapers because they received critical and angry letters from readers who felt the photo was exploitative, voyeuristic, and disrespectful of the dead. This led to the media's self-censorship of the photograph, preferring instead to print photos of acts of heroism and sacrifice.

Drew commented about the varying reactions, saying, "This is how it affected people's lives at that time, and I think that is why it's an import!!ant picture. I didn't capture this person's death. I captured part of his life. This is what he decided to do, and I think I preserved that."9/11: The Falling Man ends suggesting that this picture was not a matter of the identity behind the man, but how he symbolized the events of 9/11.

Misery in Darfur[2004]

By Marcus Bleasdale

 

It's an image which depicts a depressed, shoulders-down figure of a child in a cluster of what remains of her family.

The very weather-beaten arm of her mother goes over her left shoulder and there are the very small weather-beaten hands of the child, who is about five or six, clinging on to this one piece of security that she has, which is the weather-beaten hand of her mother.

The mother is not in the image, she's in the background. But then slightly further in the background you see the other hands of her brothers and sisters as they wait in this village.