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Portrait of Princess Angeline, Daughter of Chief Seattle (1896)

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Documenting the North American Indians (1896)

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Documenting the North American Indians (1896)

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Smithsonian Institution: Every Indian in North America has a Curtis photograph on their wall at sometime during their lives. Edward Curtis, a great photographer, an extraordinary man, made it his enterprise to photograph the people whom he believed would disappear. And so he set about on this extraordinary enterprise. And he did go all over North America from the northwest coast to Hopi land to the northern plains.

Curtis gave non-Indians an image of a world that they wanted intact. Indians as beautiful, Indians as romantic. He dragged around a trunk full of clothes just in case Indians didn’t look the way he wanted them to look. If they didn’t look right, he fixed it. If he didn’t think they looked glamorous enough in their daily Sioux outfits, he’d drag out the Blackfeet ermine-tailed war bonnets, just to hype it up a little more.

What Curtis did was extraordinary and what he left us with was an amazing legacy, these beautiful pictures of a moment in time that we all wish was true, that last brief shining moment when we looked glorious, when things weren’t shattered.

For me though and I think for a lot of native people those pictures give us a lie, give us a fantasy. I want the real picture of a daily world the way native people were living it, and Curtis can’t give me that.

Frank Matsura photographed hundreds and hundreds of Indian people at the time. He was making pictures of all the things they were, of all the ways they looked. He took pictures of the not-Curtis world. And I want those pictures. I want the reality. I want the past as it was rather than as someone dreamed it into being. (Rayna Green)

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Born in 1868 near Whitewater, Wisconsin, Edward Sheriff Curtis was to become one of America’s premier photographers and ethnologists. When the Curtis family moved to Port Orchard, Washington in 1887, Edward’s gift for photography led him to an investigation of the Indians living on the Seattle waterfront. His photograph Homeward won Curtis the highest award in a photographic exhibition contest. Having become well-known for his work with the Indians, Curtis participated in the 1899 Harriman expedition to Alaska as the lead photographer. He then accompanied George Bird Grinell, editor of Forest and Stream, on a trip to northern Montana. There they witnessed the deeply sacred Sundance of the Piegan and Blackfoot tribes. Traveling on horseback, with their pack horses trailing behind, they stopped at the precipice. Below them, the view of the valley floor stretched with over a thousand teepees – an awesome sight to Curtis. This event would transformed his life and inspired him to create The North American Indian. Consisting of over 700 large portfolio images, over 1500 volume size images, and over 7000 pages of text, The North American Indian is a part of American history in both its imagery and its creation. (Edwardcurtis.com)

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The video describes Edward Curtis's life and his work that he has done in Photographing the North American Indians. The experts show a couple of the original negatives that Curtis used in his original camera. Curtis carefully removed objects and things from the negatives, so that it wouldn't show up in the final image. Some of these objects included and umbrella and an alarm clock. What was very interesting about Edward Curtis is that he didn't only photograph Native Americans in their traditional garments, but instead gave them western clothing to try on. This raised the question, Why can't they be identified as Indian even though they are not wearing their traditional clothing? Edward Curtis is most likely the most famous North American Indian Photographer.

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Edward Curtis: Photographing the North American Indian

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Invented by George Eastman, the "Brownie" allowed for the average photographer or the middle class person to take their own snapshots.

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George Eastman, born in 1854, Waterville, New York, pioneered the way for popular photography, by inventing the brownie and the picture post-card. Founder of Kodak, an industry leading company focused on photography (1888-present day)

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A girl referred to as "Little Miss Tarkington" waits with a Kodak Brownie box camera to take a picture of Warren G. Harding.

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Advertisement for the Photo-Secession and the Little Galleries of the Photo-secession, designed by Edward Steichen. Published in Camera work no 13. 1906

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In 1888 there was a rising popularity in amateur photography due to the accessibility to photography provided by the handheld camera by The Kodak family. There was a influx of snapshooters in the photographic community. There was however a small group of individuals who believed that their photography is considered fine art. Alfred Stieglitz was the most prominent spokesperson for this group. Stieglitz called out to other likeminded "artists" to from a group. This club would be called photo-secession. The works of this club created what is known today as pictorialism photography.

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In 1902, Alfred Stieglitz started the Photo-Secessionist movement. The name meant "breaking away" – away from what Stieglitz called commercial trash and artless amateur photography. (Pbs.org)

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Steichen added color to the platinum print that forms the foundation of this photograph by using layers of pigment suspended in a light-sensitive solution of gum Arabic and potassium bichromate. Together with two variant prints in other colors, also in the Museum's collection, "The Flatiron" is the quintessential chromatic study of twilight. Clearly indebted in its composition to the Japanese woodcuts that were in vogue at the turn of the century and in its coloristic effect to the "Nocturnes" of Whistler, this picture is a prime example of the conscious effort of photographers in the circle of Alfred Stieglitz to assert the artistic potential of their medium. (Met Museum)

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Photograph taken with brownie of Stonington, Maine. 

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Photographs were occasionally sent through the mail as handmade cards in the 19th century, but it is George Eastman who is most responsible for the development of the real-photo postcard. Prior to the 1880’s negatives were produced on glass with a freshly made and still wet photosensitive emulsion. With the invention of the dry plate process and roll film, amateurs started taking pictures in great numbers. So many companies started up to supply them that they depressed the entire market. To survive in this highly competitive climate Eastman developed a complete and easy to use camera system he named Kodak, -You press the button, we do the rest. This marketing strategy not only allowed him to survive but also propelled him to the top of his field. While the first known real photo postcard made its appearance in 1899, they did not begin to be made in number until Eastman bought the rights to Velox photo paper with a pre printed postcard back, and began to seriously market it in 1902. A year later he put an inexpensive folding camera on the market that produced negatives the same size as postcards allowing for simple sharp contact printing. No other company put nearly as much money into advertising. Great efforts were made to distinguish the artistic quality inherent in real photos from that of halftone reproductions. Between 1906 and 1910, Kodak offered a fee based service where they would process and print real photo postcards adding to their convenience and popularity. (metropostcard.com)

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In 1908 Kodak introduced a service called "real photo postcards", which enabled customers to make a postcard from any picture they took.

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Today, real photo postcards are better in quality and color, but the fundamentals of a RPPC can still be seen.

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Hines photographed and interviewed the children of a mill in North Carolina. He found out that there are about 10 or 20 children around the age of 10 who have been working there at the factory for over a year. Thanks to his efforts in capturing child labor, there has been social reform against child labor.

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Lewis Wickes Hine was an American sociologist and muckraker photographer. His photographs were instrumental in bringing about the passage of the first child labor laws in the United States.

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Photograph of one of the children  miners

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This one of many of the children who are put to work in mines under the Pennsylvania Mine Co. This specific photograph is of a child driver who has been driving for one year and works 7 a.m. to 5:30 daily. Some of this children are beat by a slave-driver like person at the mines.

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Gilbert Hovey Grosvenor, father of photojournalism, was the first full-time editor of the National Geographic magazine. Grosvenor is credited with having built the magazine into the iconic publication that it is today.

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National Geographic pioneered the printing of color photographs. Photography made the magazine a huge success. Circulation soared, from three thousand subscribers to almost half a million, in just ten years. It was through these pages that generations of Americans formed their impression of the world. It was a highly selective view, with foreigners always in quaint dress, and the natives always happy and frequently dancing. There were never images of Africans getting up in the morning and going to the office.

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This video displays the how Frank gilbreth used time and motion to study bricklaying

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Gilbreth Time and Motion Study in Bricklaying

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Frank Gilberth started his interest in motion photography when he questioned the efficiency of laying bricks. Frank used photography to record every movement and make out all the unnecessary movements when laying bricks. He applied this same idea to the medical field when he started observing surgeons. He noticed that surgeons would spend too much time looking for their tools and now he indirectly coined the term "Scalpel, Please.".

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This photo is photo taken by Gilbreth during his experimentation with motion studies. The photo features a woman working and in the photo you can see her movements as blurs. The most interesting part of the photo is how the top half her is spectral like, but her lower half is completely still.

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Wall Street is an historically significant image, both for Strand and for the development of photographic art. It marked a clear departure from a style of soft-focused Pictorialism (practiced hitherto by Strand) whereby the photographer used a camera and dark-room manipulation to produce images that mimicked that rather unfashionable (by modernism's standards) painting style. The image provides an early example of Strand's willingness to accommodate documentary realism and abstraction within the same frame. On the one hand, Strand offers the spectator an objective, 'straight', record of a street scene showing walking pedestrians as the sun elongates their shadows; on the other, we have a high contrast interplay of light and dark as the shadows formed by the niches of the large Morgan Trust Bank building produce a slanting geometric pattern (The Art Story)

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The history of modern art shows that America offered a fertile environment for some of the most important photographic pioneers of the twentieth century. It was perhaps Paul Strand who carved out a most unique position amongst them. Strand is often discussed as the architect of the so-called Straight Photography; a pure photographic style that utilized large format cameras to record, and bring new perspectives to ordinary or previously ignored subjects in the name of fine art. Strand's 'Straight' aesthetic proved so persuasive in fact that it was adopted by other luminaries in the photographic circle and the 'Straight' ideal formed part of the clarion call for the famous f/64 Group who shared similar ideals with Strand, as did a number of other Straight photographers in the next several decades. Yet Strand was to push forward by extending the 'Straight' aesthetic to the field of documentary and he became highly regarded, and something of a standard-bearer, for those in pursuit of social and political redress through both the still and moving image. (The Art Story)

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During the summer of 1916, Strand vacationed at a rented cottage in Twin Lakes, Connecticut. Inspired by the European avant-gardes, and the Cubists especially, he had already reached the conclusion that "All good art is abstract in its structure" and he began to explore the question, posed by the European painters, of "what a picture consists of, how shapes are related to each other, [and] how spaces are filled". Using everyday items, including kitchen furniture and crockery, and fruit, Strand used his large plate camera to transform - or elevate - the mundane utilities into pure two-dimensional patterns. The resulting collection did in fact include some of the very first purely abstracted photographic images. Porch Shadows exemplifies this way of working. On close inspection, we might deduce that the object in question is no more than an ordinary round table placed on a terrace porch. But Strand alters our perception by firstly rotating the image. The geometric shapes meanwhile - thin stripes, parallelograms and a large triangle - are created in the shadows and light brought to the composition by the strong sun as it penetrates the slats of the terrace window. (The Art Story)

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Before the NY Daily News was called the NY Daily News, Their name used to be called the Illustrated Daily News. This is their first tabloid published in 1919.

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The Daily News is the oldest tabloid newspaper in the United States. When it started publication in 1919, it was the first paper to sell itself on the basis of pictures.

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Tabloid of Babe Ruth shattering the single homerun record. The Daily News covered everything from politics to sports.

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This is a photo taken from the 1938 film "Holiday" featuring Carry Grant and Kathrine Hepburn.

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Originally a painter, George Hurrell started photographing other painters' works in order to earn a living in the artist's colony of Laguna Beach, California. In 1927 he opened a photographic studio in Los Angeles. Silent film star Ramon Novarro became one of his first clients, and within two years Hurrell became the premier Hollywood glamour photographer. He worked for Metro-Goldywn-Mayer (MGM) studios for three years beginning in 1930, where he made the publicity stills for all of the studio's stars. By 1936, one national magazine stated that "a Hurrell portrait is to a normal publicity still what a Rolls Royce is to a pair of roller skates." (Getty Museum)

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It's a portrait session that can involve makeup, wardrobe choices, and fine-tuned poses. Others define glamour photography as something a bit more sensual. These types of images still celebrate beauty but in a more flirtatious way. These glamour shots highlight attraction.

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END OF " THE DEVELOPING IMAGE" (1900-1934)

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END OF " THE DEVELOPING IMAGE" (1900-1934)

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PART 2: THE PHOTOGPRAPHIC AGE (1935-1959)

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PART 2: THE PHOTOGPRAPHIC AGE (1935-1959)

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The Ansel Adams Gallery aims to foster an aesthetic awareness and concern for our environment by providing visitors with a diverse selection of books, handcrafts, fine arts, and an unparalleled collection of genuine Ansel Adams pictures.

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Ansel Easton Adams was an American landscape photographer and environmentalist whose black-and-white photographs of the American West are well-known. He was a founding member of Group f/64, a group of photographers who advocated for "pure" photography, which promoted sharp focus and the utilization of a photograph's whole tonal range.

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Ansel Adams became well-known as a photographer of the American West, particularly Yosemite National Park, and used his work to advocate wilderness conservation. His classic black-and-white photographs aided in the acceptance of photography as a fine art form.

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Photos up to that point were largely delivered by mail, train or airplane, taking up to 85 hours in transit. AP Wirephoto could transmit a photo in minutes.

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1935, the Associated Press sent its very first photograph over the organization's brand new Wirephoto service: an aerial photo of a plane crash in upstate New York. The photo was delivered across the country to 47 newspapers in 25 states.

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In an article published that day in The Bulletin newspaper, AP president Frank B. Noyes named each of the papers that had opted into the service saying, “These are the pioneers of wirephoto, which outstrips other messengers in conveying the news in pictures just as, a century ago, the telegraph came to outstrip the carrier pigeon and the pony express, and, a little more than a generation ago, the typewriter relegated the stylus to oblivion.”

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On December 24, 1936, The Henry Luce Foundation's certificate of incorporation was filed in the office of New York's Secretary of State, signed by the foundation's first four board members and their counsel. Members of Henry R. Luce's family and Time Inc. associates made up the first board. The board accepted Henry R. Luce's initial contribution—38 shares of General Publishing Company common stock—at their inaugural meeting two days later, and chose Charles Stillman as the foundation's first president and chief executive officer, roles he served for 22 years.

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Henry R. Luce was only 38 years old when he offered to establish a new foundation in 1936, but he was already powerful in American life. He co-founded Time magazine with his Yale College classmate Briton Hadden thirteen years prior, followed by Fortune in 1929 and Life in 1936. To honor his father's accomplishments, Luce established an endowment at Yenching University in Peking in 1935. The Foundation's grantmaking became a memorial to his parents, Presbyterian missionaries and educators Elizabeth Root Luce and Henry Winters Luce, who worked in China in the early twentieth century. Henry, Emmavail, Elisabeth, and Sheldon, their four children, were all born in China.

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Over its first three decades, the Luce Foundation emerged quietly. There were no offices or paid staff, and no formally designated programs. Grants followed the founder’s interests, and he slowly added to the foundation’s assets with additional stock from his publishing company. From 1936 to 1966, the foundation’s grants were mostly quite small, falling into three categories: more than 38 percent were related to Asian affairs, 36 percent to theology and ethics, and 25 percent to public affairs and policy. The recipients of grants included a variety of institutions and organizations, but many of the projects supported American colleges and universities.

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The Hindenburg tragedy happened on May 6, 1937, in Manchester Township, New Jersey, United States, as a result of an airship accident. During an effort to dock with its mooring tower at Naval Air Station Lakehurst, the German passenger airship LZ 129 Hindenburg caught fire and was destroyed.

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Murray Becker was a major photographer at the Hindenburg tragedy, which occurred on May 6, 1937, when a Nazi dirigible crashed in Lakehurst, New Jersey. The Hindenburg tragedy is depicted in the Murray Becker collection primarily through sixteen silver gelatin prints. It also includes an oversized scrapbook of newspaper clippings and images about the accident, as well as a famous photograph of a tearful Lou Gehrig announcing his retirement from baseball.

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The photographs of the Hindenburg exploding affected newspaper readers in a way that words could not. After those photographs were reproduced across the United States and around the world, many newspaper stories were not considered credible unless they had images to support the stories. Becker went on to produce a photograph of Lou Gehrig announcing his retirement in 1939 for which he also received awards. Becker served as Chief Photographer of the Associated Press for a full thirty-two years before he retired.

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Weegee focused his photography on police stations, and he was granted permission to install a police radio in his car in 1938. This enabled him to take the first and most exciting images of important events and sell them to newspapers like the Herald-Tribune, Daily News, and Post.

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New York in the 1930s was a newspaper photographer's dream. Small-time wiseguys and would-be stool pigeons were getting popped left and right as governmental agencies tried to crack down on organized crime. It was the golden age of Murder Inc., a gang of Jewish hitmen, and small-time wiseguys and would-be stool pigeons were getting popped left and right as governmental agencies tried to clamp down on organized crime. A swarm of photojournalists patrolled the streets, capturing all of the bloodshed for posterity. Perhaps no one was more innovative, or, more to the point, sensational, than an Austrian-born immigrant known as Weegee.

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Legend has it, he was given the nickname Weegee because he was said to have a sixth sense for detecting wrongdoing before anybody else, similar to an underground Ouija board. He was simply fortunate to reside across the street from police headquarters and intelligent enough to decipher cop chatter on his police-band radio receiver. He also made a point of befriending the bad guys, including Bugsy Siegel and Lucky Luciano. Weegee claimed to have photographed 5,000 killings during his career, which the International Center of Photography (ICP) describes as "probably only slightly exaggerated."

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US Farm Security Administration (FSA) during World War II

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US Farm Security Administration (FSA) during World War II

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She took photographs for the US Farm Security Administration (FSA) during World War II to investigate the living circumstances of farm workers and their families in Western states like California. The majority of the workers had fled the Dust Bowl, a prolonged drought that had destroyed millions of acres of crops in Midwestern states like Oklahoma.

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FSA Administration: Dorthea Lange (1895-1965)

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FSA Administration: Dorthea Lange (1895-1965)

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America's best documentary photographer, Dorothea Lange (1895-1965), has been dubbed Dorothea Lange (1895-1965). She is best known for her photos of migrant agricultural workers and her memoirs of the Great Depression.

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Dorothea Lange's photographs of migrant farm workers and the rural poor are some of the most iconic images of the Great Depression's impact on American society. Lange's photographs gave a face to the distress and suffering of the nation, and spread awareness throughout the country.

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When the FSA was absorbed into the Office of War Information (OWI), Parks had the opportunity to photograph the legendary Tuskegee Airmen Fighter Pilots. The combination of Parks’ experience shooting fashion as well as documentary photography informed his style and made him an asset at Life magazine when he joined their staff in 1948. He would continue to work as both fashion photographer and photo documentarian for the rest of his tenure there through the early 1970s.

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Gordon Parks began his professional photography career photographing clothes at a department shop in St. Paul, Minnesota. Parks was inspired to explore and capture Chicago's destitute South Side by his job expertise, which enabled him to photograph for local newspapers. This series of photos earned him a Rosenwald Fund photographic scholarship, allowing him to work with Roy Stryker's famed Farm Security Administration (FSA) photography team. Parks got the opportunity to photograph the renowned Tuskegee Airmen Fighter Pilots after the FSA was merged into the Office of War Information (OWI).

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His photojournalism during the 1940s to the 1970s reveals important aspects of American culture, and he became known for focusing on issues of civil rights, poverty, race relations and urban life.

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Pearl Harbor was the most important American naval base in the Pacific and home to the US Pacific Fleet. In strategic terms, the Japanese attack failed. Most of the US fleet and aircraft carriers were not present at the time of the attack.

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The attack on Pearl Harbor was a surprise military strike on the United States by the Imperial Japanese Navy Air Service against the naval facility at Pearl Harbor in Honolulu, Territory of Hawaii, just before 08:00 on Sunday, December 7, 1941.

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Remembering Pearl Harbor (December 7, 1941)

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Remembering Pearl Harbor (December 7, 1941)

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The attack also destroyed 188 U.S. aircraft and sank or damaged 19 Navy ships. Now, 76 years later, the significance of Pearl Harbor stays with us as Americans remember that this attack launched the United States into World War II. We should also remember this date as a symbol of American grit and resilience.

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The Big Five (September 1943)/Addison Beecher Colvin Whipple

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The Big Five (September 1943)/Addison Beecher Colvin Whipple

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Beecher, Addison Colvin Whipple was a writer, editor, historian, and author from the United States. He was born on July 15, 1918, in Glens Falls, New York, and spent his boyhood in Suffield, Connecticut.

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When Life magazine finally received permission to publish photographs of dead American soldiers in September 1943, it remarked in an editorial, "Words are never adequate." That authorization, which came directly from the president, would have been nearly impossible if it hadn't been for the tireless efforts of Life's Washington correspondent, Cal Whipple.

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The mass suicides of the Leipzig burgomaster's family

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The mass suicides of the Leipzig burgomaster's family

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The mass suicides of the Leipzig burgomaster's family, which were captured by Margaret Bourke-White and Lee Miller, caused a stir. The photographs revealed a distinct technique by these two outstanding female military photographers. Bourke-White, ever the astute observer, kept her distance from the catastrophe, even photographing it from the gallery above. Miller stepped in closer; as a war photographer for Vogue, Miller's portrait of the burgomaster's daughter's body was practically a fashion shoot of a wax mannequin, her Nazi armband neatly displayed, her lips parted as if waiting for a true love's kiss to revive her.

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The heinous act of four US Marines peeing on three Afghan corpses, documented on film, must be thoroughly investigated and punished as promised. Even in a conflict zone, such callous disrespect of the dead is repulsive

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People sent off to fight often demonize the enemy to harden their hearts to the killing, suffering and degradation unleashed by combat. What's different today is the widespread use of digital cameras and the Internet, which allow images to be made and whisked around the globe in cybertime. As a result, people far removed from the battlefield quickly become privy to the outrages.

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Atrocities like these have always been a feature of warfare's degrading essence.
As the American West was settled, scalps were collected. During World War II, Japanese soldiers' teeth and skulls were collected as souvenirs. Photos of the gruesome mementos were also circulated at the time, but without YouTube's immediacy and global reach. They were published in home front magazines, not in the countries where we were at war. In Vietnam, it was the same. In 1971, John Kerry, a veteran of the conflict who later became a US senator and Democratic presidential candidate, spoke before the Senate about fellow soldiers cutting the ears and heads off enemy combatants' bodies.

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Betty Grable Pin up During the World War 2 (1940s)

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Betty Grable Pin up During the World War 2 (1940s)

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Betty Grable, whose iconic image above became the number-one pin-up of World War II, was shown smiling coyly over her shoulder in a bikini and pumps. Frank Powolny's shot was a work of art, emphasizing Grable's stunning legs.

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During the war, this Betty Grable photograph was owned by one out of every five American servicemen. It was one of the images that altered the world, according to LIFE magazine, not least because one of the boisterous servicemen who held the picture was Hugh Hefner, who would later claim the pin-up as his inspiration for Playboy.

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According to hosiery experts of the time, her legs were ideal [thigh (18.5′′), calf (12′′), and ankle (7.5′′). Grable was known for having the most gorgeous legs in Hollywood, and images of them were extensively circulated in studio publicity. At Lloyds of London, they were insured for a million dollars. (During the 1940s, Grable was Hollywood's highest-paid female performer, earning $300,000 per year.)

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When soldiers of the 16th Regiment of the 1st Infantry Division landed at Omaha Beach on June 6, 1944, photographer Robert Capa, in the employ of LIFE magazine, was among them.

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Capa, the Hungarian-born combat photographer who climbed into a landing craft with men from Company E in the early morning hours of D-Day, was perhaps the most well-known of all World War II combat photographers. During the Spanish Civil War, he put his life on the line on several occasions and captured what is often regarded as the most haunting of all war images. According to legend, the renowned photograph depicts Spanish Loyalist militiaman Frederico Borrell Garcia being shot in the chest by a Nationalist bullet on a bleak Iberian mountainside.

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Capa's D-Day photos have become classics. One of them, depicting a GI struggling through the churning surf of Omaha Beach, has survived as the definitive image of the Normandy invasion. He went on to photograph the Arab-Israeli war in 1948. He also photographed his friends Ernest Hemingway and Pablo Picasso, as well as film star Ingrid Bergman, with whom he reportedly had a love affair.

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Joe Rosenthal's photograph of six US Marines raising the American flag on Mount Suribachi on Iwo Jima is perhaps the most well-known Pulitzer Prize-winning photograph. It was taken five days after the Marines landed on the island, on Friday, Feb. 23, 1945. Rosenthal's company, the Associated Press, distributed the photo to member publications 1712 hours later, and it appeared on the top pages of numerous Sunday newspapers.

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Normally, the Pulitzer Prize Board looks at journalism from the preceding calendar year when awarding prizes. It made an exception for Rosenthal's photograph, giving it the 1945 Photography Prize just over two months after it was taken.

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The horrific facts of the atrocities that allied troops were unearthing all over Germany brought the coming Allied victory to a halt at the conclusion of WWII. When they arrived in Buchenwald, on the outskirts of Weimar, Margaret Bourke-White was with General Patton's third amy. Patton was so outraged by what he saw that he ordered his police to round up a thousand villagers and force them to witness what their leaders had done for themselves.

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The MPs were so outraged that they returned with 2,000 people. "I saw and photographed stacks of nude, lifeless bodies, human skeletons in furnaces, living skeletons who would die the next day," Bourke-White stated. for lampshades, and tattoed skin It was almost a comfort to use the camera. It provided a thin layer of protection between me and the horror in front of me."

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His major responsibility as a Marine was to take photographs of sailors for identifying photos. After completing his military service, Avedon enrolled at the New School of Social Research in 1944 to study under Alexey Brodovitch, the art director of Harper's Bazaar. The photographers became fast friends, and Brodovitch hired him as a staff photographer for the magazine after only a year of working together. Avedon was assigned to cover the infamous fashion week in Paris after a few years of capturing ordinary life in New York.

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Richard Avedon, an American fashion and portrait photographer, was recognized for pushing the frontiers of photography in the fashion and political worlds. Avedon's photography appeared in magazines such as Vogue and the New Yorker, and he was able to capture the unusual feeling and unique character of his subjects that few other photographers could.

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During the 1960s, Avedon also expanded into more explicitly political photography. He did portraits of civil rights leaders such as Dr. Martin Luther King Jr., Malcolm X and Julian Bond, as well as segregationists such as Alabama Governor George Wallace, and ordinary people involved in demonstrations.

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The cover of the photobook accompanying the show The Family of Man reads, "The greatest photographic exhibition of all time — 503 photos from 68 countries – created by Edward Steichen for the Museum of Modern Art." 1) From January 24 to May 8, 1955, the show was held at the Museum of Modern Art (MoMA) in New York. It was a huge hit, with the press reporting that more than a quarter of a million people in New York witnessed it. However, it is largely due to its international exposure that it has become a significant figure in the history of twentieth-century photography.

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Edward Jean Steichen was an American photographer, painter, and curator who was regarded as one of the most prolific and influential figures in photography history. Steichen is credited with elevating photography to the status of an art form.

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The pictures in the display were largely culled from the Life magazine library, with a few from other popular magazines at the time such as Vogue and Ladies Home Journal thrown in for good measure. Magnum, Black Star, and Rapho Guillumette, among others, provided a substantial number of photographs. Edward Steichen, with the help of Wayne Miller, coordinated the show, which was designed by architect Paul Rudolph. The images, which were largely contemporary documentary photographs, were organized into 37 themed sections that told a broad story about human life.