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Editor and publicist of National Geographic Magazine. He introduced color photography in 1904.

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Pioneered the printing of color photographs. Increased number of subscribers substantially because you could see the world at your doorstep.

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Originally founded in 1892 but was taken over by Conde Naste Publishers in 1909 and they began publishing photos primarily focused on women and fashion.

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This is a type of photography that influenced it's readers to support or join the war that the country was in. It showed that they were so great but did not mention the bloodshed as that would deter people from supporting or joining the war.

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The man on the front cover is known as Eustace Tilley who is a character that often shows up in multiple issues of The New Yorker. He’s looking through a monocle and has a butterfly at his side. He signifies a person taking an inside look into the making of The New York. The cover was open to interpretation from the readers: he was either a cultivated observer or just a silly man who is out of place.

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Founded Life Magazine and filled it with huge photographs to tell stories. He provided a way for Americans to see life and the events that were happening in the world. Created photo essay and picture books.

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Fort Peck Dam's spillway photographed by Margaret Bourke-White

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Taken by Alfred Eisenstaedt. There are ballerinas in a line while doing a specific pose in a dance studio. This photo was taken to represent how ballerinas show elegance in their forms and how important that is. Reading the caption allows readers to understand the content and purpose of the image.

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COVER: AMERICAN BALLET

THE PERFECT FOOTBALL FACE, EARL 'DUTCH" CLARK 4

SPEAKER OF THE HOUSE, WM. BROCKMAN BANKHEAD 9-11

"GONE WITH THE WIND," LOCAL PHOTOS ABOUT THE BOOK AND AUTHOR, MARGARET MITCHELL 18-21

ARTIST CHARLES BURCHFIELD PAINTS AMERICA 24-29

HARLEM'S FAVORITE DANCE, THE LINDY HOP 30-31

ARTHUR MURRAY DANCE STUDIOS 32-35

PROFESSIONAL DANCERS FRED ASTAIRE, THE DEMARCOS 36-39

THE LIFE OF JESUS CHRIST. ART by TITIAN, AEBRECHT BOUTS, DUCCIO, TIMOTEO VITII, CRANACH THE ELDER, CONRAD VON SOEST, SAMUEL KRESS,

FILIPPINO LIPPI 44-49

CHINA, CHIANG KAI-SHEK, COMMUNIST OPPOSITION 50-55

ST. LOUIS ZOO BOXING CHIMPANZEES 66-67

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life magazine | december 1936 | american ballet

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Life Magazine, December 28, 1936 - American Ballet

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12/28/1936 Life Magazine | Metropolitan Opera's Ballet on cover. Articles about: Gone with the wind, the book â€" the millionth copy was printed on December 1...Gone with the wind, the book â€" the millionth copy was printed on December 15th â€" this arti

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A photographer named Dorothy Bohm was a proper retrospective. Bohm was an influential figure in the in British photography over the 7 decades.

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A World Observed 1940-2010: Photographs by Dorothy Bohm
Manchester Art Gallery, 24th April-30th August, Tel: 0161 235 8888

Surprisingly, this is photographer Dorothy Bohm's first proper retrospective. Though not a household name, Bohm has been an influential figure in British photography for over seven decades-she founded The Photographer's Gallery in London in 1971, was a nurturer of young talent, and last year was elected an honorary fellow of the Royal Photographic Society.

Fittingly, the show is being mounted in Manchester, the city to which the young Bohm, born into a Jewish Lithuanian family in 1924, was sent in 1939 to escape the Nazis. After graduating from Manchester College of Technology in 1942, Bohm started with portrait work, opening "Studio Alexander" in 1946 before embarking on years of travel through Europe, the US, Mexico, the USSR and Israel, where she developed her distinctive approach to the black-and-white documentary "decisive moment."

In the early 1980s she started using Kodak colour film on a trip to the far east. Since then she has used colour exclusively, sometimes with the human scene as her focus, sometimes constructing images more abstract and allusive. "The photograph fulfils my deep need to stop things from disappearing," she has said. As photography of Bohm's kind disappears, this exhibition, co-curated by Bohm's daughter Monica, is both celebration and elegy.
This article originally appeared in the May 2010 edition of Prospect.

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Prospect recommends: A World Observed 1940-1950

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A World Observed 1940-2010: Photographs by Dorothy Bohm Manchester Art Gallery, 24th April-30th August, Tel: 0161 235 8888 Surprisingly, this is photographer Dorothy Bohm's first proper retrospective. Though not a household name, Bohm has been an influential figure in British photography for ove

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There are plenty of photographic masterpieces throughout history. In the 1940s, there was the Big Five photographs of WWII that are historically well known even to this day. These include Demonizing the Enemy, Pin Up Girl, D-Day, Iwo Jima, and Evidence (of Auschwitz). These photographs were seen in various magazines during this time to show Americans the reality of war.

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At the time, bones of the Japanese bodies were sent home as gifts and souvenirs. The Japanese were singled out and hated whether they were American citizens or not. Many were evacuated from America due to this accepted racism across the country. It was a way to remind Americans of why they were fighting in the war. Natalie Nickerson staring at the skull of a Japanese person was a very iconic photo that was printed during the time as it showed that the hatred towards the Japanese was amongst all Americans, even those who were very respectable human beings.

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Betty Grable was a star in the 1940s who helped to lighten the mood of Americans during the tense time of war. Her picture was beloved by many soldiers and she was also a symbol of home to motivate those fighting in the war to return home.

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Showed America what was happening on D-Day, one of the biggest stories during the war. Only 11 photos out of 4 rolls of film were able to be printed.

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John G. Morris, 1998"I had rehearsed my part in every detail, from the moment the raw film arrived in London to the transfer of prints and negatives to the courier who would take them to the States — with a stop at the censor's office in between." – John G. Morris"Dennis came bounding up the stairs and into my office, sobbing. 'They're ruined! Ruined! Capa's films are all ruined!'" – John G. Morris

Something woke me early on the morning of Tuesday, June 6, 1944. I drew the blackout curtain and saw that it was just another dull, gray day, colder than an English spring had any right to be. The streets were empty, and I was alone in the flat I shared with Frank Scherschel on Upper Wimpole Street in London's West End. He had departed — vanished, actually, without saying a word — several days earlier for his battle station, a camouflaged airfield from which he would fly reconnaissance over the English Channel to photograph the largest armada ever assembled. My job was to stay behind, to edit those and other photos for LIFE as picture editor of the London bureau.

The Editor: John Morris

I dressed as usual in olive drab, turned on the radio, made tea and read the papers, which of course had nothing to report. Then, at 8:32 London time, the bulletin came over the BBC:
"Under command of General Eisenhower, Allied naval forces, supported by strong Allied air forces, began landing Allied armies this morning on the northern coast of France."
"This is it," I whispered to myself, uttering the very words that Joe Liebling of The New Yorker later called "the great clich of the Second World War." I hurried to the TIME-LIFE office in Soho, even though there wouldn't be much for me to do — for many hours, as it turned out.

I had been waiting eight months for this day. There had been a false alarm on Saturday, when a young telegrapher in the Associated Press London bureau, practicing to get up her speed, had put out an erroneous bulletin:
URGENT PRESS ASSOCIATED NYK FLASH EISENHOWER'S HQ ANNOUNCED ALLIED LANDINGS IN FRANCE
It had been corrected within a minute — "Bust that flash" — but it had sent a wave of panic through both Allied and German headquarters. Now it was for real. Tuesday was a good D-Day for LIFE. Our job was to furnish action pictures for the next issue, dated June 19, which would close on Saturday in New York, and appear the following week. Wirephotos, of poor quality and limited selection, would not do; besides, they would be available to newspapers through the pool. Our only hope to meet the deadline was to send original prints and negatives, as many as possible, in a pouch that would leave Grosvenor Square by motorcycle courier at precisely 9:00 a.m. London time on Thursday. The courier would take it to a twin-engine plane standing by at an airdrome near London. At Prestwick, Scotland, the base for transatlantic flights, the pouch would be transferred to a larger plane. After one or two fuel stops, it would arrive in Washington, D.C., and our pictures would be hand-carried to New York on Saturday.

I had rehearsed my part in every detail, from the moment the raw film arrived in London to the transfer of prints and negatives to the courier who would take them to the States — with a stop at the censor's office in between. Clearing the censors at the Ministry of Information was by now a familiar routine. Their office was on the ground floor of the University of London's tall central building, which backed onto Bedford Square. Available twenty-four hours a day, the censors were cooperative, as censors go, permitting us to sit alongside them as they worked. Our photographers knew to avoid the faces of Allied dead, shoulder patches that revealed unit designations, and "secret" weapons (although by now most were known to the enemy) — so the work was for the most part pro forma. But it was tedious in the extreme, since every single print had to be stamped, after which the censor bundled all the acceptable material into an envelope and sealed it, using a special tape imprinted with the words PASSED FOR PUBLICATION. Without the tape, it could not leave the country.

Getting the packet by car to the courier at Grosvenor Square, about a mile from the ministry, looked simple on the map, but the most direct way, down Oxford Street, was often jammed with double-decker buses, so I devised a parallel route on a series of side streets: Hollen to Noel to Great Marlborough to Hanover to Brook (I can remember every turn five decades later). This put me onto the wrong side of Grosvenor Square, but the final fifty yards could be covered on foot — while running at top speed. I left the little two-door Austin sedan Time Inc. had given me to its own fate. It was not uncommon for joyriders to take it out for a spin when I worked late, but that was no problem. A call to Scotland Yard was all that was necessary. The car would invariably be found as soon as the thief ran out of what little petrol was in the tank.

For the Normandy invasion, there were twelve photographers accredited for the wire services and six for LIFE. (In the photo at left, taken one week before disembarkation in Normandy, are (top) from left to right: Bob Landry, George Rodger, Frank Scherschel, and Bob Capa. Bottom, John Morris (Editor) stands between Ralph Morse and David Scherman.) Only four press photographers were supposed to land with the first wave of American infantry on D-Day itself, and we managed to get two of the spots, for Bob Landry and Robert Capa. Both were veterans — Capa would be on the fifth front of his third major war. Although often unlucky at cards and horses, Capa nevertheless used a gambling metaphor to describe his situation on D-Day in his 1947 memoir-novel, Slightly Out of Focus: "The war correspondent has his stake — his life — in his own hands, and he can put it on this horse or that horse, or he can put it back in his pocket at the very last minute ... I am a gambler. I decided to go in with Company E in the first wave."

Bob Landry also felt obliged to accept this dubious privilege. The other LIFE assignments sorted themselves out. Frank Scherschel stuck with his buddies in the Air Force. David Scherman chose the Navy. George Rodger accompanied the British forces, under General Bernard Montgomery. Ralph Morse's assignment was General George Patton's Third Army, but since it would not hit the beachhead until later, he boarded a landing ship whose job it was to pick up casualties — of which there would be plenty.

Who would get the first picture? Bad weather prevented good general views from either air (Scherschel) or sea (Scherman). Rodger, landing with the British on an undefended beach, "walked ashore in a blaze of anti-climax," as he put it in typically modest understatement. All day Tuesday we waited, and no pictures. It was rumored that one Signal Corps photographer had been killed in the first hours, but it turned out that he had "only" lost a leg. Late on Tuesday night Bert Brandt of Acme Newspictures, having scarcely gotten his feet wet, returned to London with a first picture!, but not a terribly exciting one, of a momentarily unopposed landing on the French coast, shot from the bow of his landing craft. Landry's film — and his shoes — somehow got lost. A disaster. I had been told that AP would have the fourth first-wave spot, but not one of their six photographers landed that day. So it was entirely up to Capa to capture the action, and where was he? Hour after hour went by. We were now waiting in the gloom of Wednesday, June 7, keeping busy by packaging the "background pictures," all of relatively little interest, that now flooded in from official sources. The darkroom staff — all five of them — had been standing by idly since Tuesday morning, their anxiety about the pressure they would be under growing steadily by the hour. This nervousness would soon result in an epic blunder.

At about 6:30 Wednesday evening, the call came in from a Channel port: Capa's film was on the way. "You should get it in an hour or two," a voice crackled over the line before fading into static. I shared this information with pool editor E. K. Butler of AP, a feisty little martinet whose nickname was "Colonel." He snapped back, "All I want is pictures, not promises!" Around nine, a panting messenger arrived with Capa's little package: four rolls of 35-millimeter film plus half a dozen rolls of 120 film (2 1/4 by 2 1/4 inches) that he had taken in England and on the Channel crossing. A scrawled note said that the action was all in the 35-millimeter, that things had been very rough, that he had come back to England unintentionally with wounded being evacuated, and that he was on his way back to Normandy.

Braddy, our lab chief, gave the film to young Dennis Banks to develop. Photographer Hans Wild looked at it wet and called up to me to say that the 35-millimeter, though grainy, looked "fabulous!" I replied, "We need contacts - rush, rush, rush!" Again I phoned Butler through the AP switchboard, but he could only bellow, "When do I get pictures?" Brandt's wirephoto of troops landing apparently unopposed had scarcely satisfied the West's desperate need to believe in the actuality of invasion. A few minutes later Dennis came bounding up the stairs and into my office, sobbing. "They're ruined! Ruined! Capa's films are all ruined!" Incredulous, I rushed down to the darkroom with him, where he explained that he had hung the films, as usual, in the wooden locker that served as a drying cabinet, heated by a coil on the floor. Because of my order to rush, he had closed the doors. Without ventilation the emulsion had melted.

I held up the four rolls, one at a time. Three were hopeless; nothing to see. But on the fourth roll there were eleven frames with distinct images. They were probably representative of the entire 35-millimeter take, but their grainy imperfection — perhaps enhanced by the lab accident — contributed to making them among the most dramatic battlefield photos ever taken. The sequence began as Capa waded through the surf with the infantry, past antitank obstacles that soon became tombstones as men fell left and right. This was it, all right. D-Day would forever be known by these pictures.

One more ordeal lay ahead. We now had only a few hours to get our picture packet through the censors, and in addition to Capa's we had hundreds of other photos, the best from Dave Scherman of matters just before the landing. The British and Canadians had covered invasion preparations for days, as had the U.S. Army Signal Corps and the Navy and Air Force photographers. Nobody really cared now about such pictures, but we dutifully sent them on.

At 3:30 on Thursday morning, pictures in hand — including Capa's precious eleven — I drove my Austin through deserted streets to the Ministry of Information, where I had to wait my turn. Ours was the largest picture shipment of the week, and I almost wished I could throw all but the Capa shots overboard in the interest of time. Finally, about 8:30, the censor finished putting his stamp on all the pictures. I stuffed the big envelope, and then it happened. The censor's specially imprinted tape stuck fast to its roll. It simply would not peel off. We tried another roll. Same result. This went on for minutes that seemed hours, and I had to deliver the packet to the courier, a mile away, by nine o'clock — our only chance to make the deadline after eight months!

I left the ministry at about 8:45 and drove like a maniac through the scattered morning traffic, down the little side streets, reaching the edge of Grosvenor Square at 8:59. I ran the last fifty yards and found the courier, in the basement of the Service of Supply headquarters, about to padlock his sack. "Hold it!" I shouted, and he did.

Just after LIFE's Saturday-night close, the editors cabled,
TODAY WAS ONE OF THE GREAT PICTURE DAYS IN LIFE'S OFFICE, WHEN CAPA'S BEACHLANDING AND OTHER SHOTS ARRIVED.
I could only think of the pictures lost. How was I going to face Capa?

Copyright 1998 by John Godfrey Morris. All rights reserved.

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The Magnificent Eleven: The D-Day Photographs of Robert Capa

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John G. Morris, 1998 "I had rehearsed my part in every detail, from the moment the raw film arrived in London to the transfer of prints and negatives to the courier who would take them to the States - with a stop at the censor's office in between." - John G.

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This image showed the victory for America as well as marked the impact of the New Deal. It was a piece of symbolism to unite the Americans during this tough time.

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Margaret Burke-White was the only photographer allowed to photograph the concentration camps at Auschwitz. The events at the concentration camps seemed too extreme for the people to believe but these photographs showed Americans the reality of the sickening situation. It was visual proof that these were not exaggerations. It documented a turning point in the world.

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Frank Horvat was an Italian photographer who lived and worked in France. He was known to be a professional fashion photographer in the 1950s. He includes photojournalism, portraiture, landscape, nature, etc. Frank gives his audience time and space to reflect in this fast-paced world.

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Frank Horvat (28 April 1928 - 21 October 2020) was an Italian photographer who lived and worked in France. He is best known for his fashion photography, published between the mid 1950s and the late 1980s. Horvat's photographic opus includes photojournalism, portraiture, landscape, nature, and sculpture. He was the recipient of the Fondazione del Centenario Award in 2010 for his contributions to European culture.

He has collaborated with fellow photographers such as Don McCullin, Robert Doisneau, Sarah Moon, Helmut Newton, and Marc Riboud. In the 1990s, he was one of the first major photographers to experiment with technology including photoshop.

Horvat was born in Abbazia, Italy (now Opatija, Croatia), on 28 April 1928, into a Jewish family from Central Europe. His father, Karl, was a Hungarian general physician, and his mother, Adele, was a psychiatrist from Vienna. At the age of 11, in 1939, his family moved to Lugano in Switzerland, fleeing fascism in Italy. He went on to study fine art at Brera Academy in Milan. Horvat lived in several countries including Switzerland, Italy, Pakistan, India, England, and the United States, before settling in France in 1955.

Horvat started his career in the mid 1950s as a photojournalist in Paris, working to capture the 'sleaze and squalor' of the city, before going on to fashion photography. He acknowledged having been strongly influenced by French humanist photographer Henri Cartier-Bresson. After meeting him in 1950, he followed his advice and replaced his Rollei with a Leica camera and embarked on a two-year journey through Asia as a free-lance photojournalist. His photographs from this trip were published by Life, , , Picture Post, , and . His photograph of an Indian bride under a veil, her face reflected in a mirror on her lap, was selected by Edward Steichen for The Family of Man exhibit at the Museum of Modern Art which toured the world to be seen by 9 million visitors.

In 1955, Horvat moved from London to Paris and found that the mood of its streets and its inhabitants had little in common with the somewhat romantic vision of the so-called humanist photographers. In 1957, Horvat shot fashion photographs for Jardin des Modes using a 35-mm camera and available light, which formerly had rarely been used for fashion. This innovation was welcomed by ready-to-wear designers, because it presented their creations in the context of everyday life. In the following years, Horvat was commissioned to do similar work for Elle in Paris, Vogue in London, and Harper's Bazaar in New York.

Between 1962 and 1963, Horvat turned to photojournalism and took a trip around the world for the German magazine Revue. Then he experimented with cinema and video. In 1976, he decided to "become his own client" by producing three personal projects: Portraits of Trees (1976-82), Very Similar (1982-86) and New York Up and Down (1982-87), which he called his "triptych".

In this period, Horvat went on towards color photography including his series New York Up and Down, where he extensively shot portraits of passengers on New York's subway systems and coffee shops. This was also period when his eyesight started to fail from an eye disease. It was then that he began a new project, a series of interviews with fellow photographers, such as Edouard Boubat, Robert Doisneau, Mario Giacomelli, Josef Koudelka, Don McCullin, Sarah Moon, Helmut Newton, Marc Riboud, Jeanloup Sieff and Joel-Peter Witkin. They were published in France under the title Entre Vues.

In the 1990s, Horvat became interested in computer technology and produced Yao the Cat (1993), Bestiary (1994), and Ovid's Metamorphoses (1995). He transgressed the Cartier-Bressonian rule of the "decisive moment" by combining parts of images shot at different times and in different places. Several years later, he produced A Trip to Carrara. This was also the period that he was one of the first photographers to experiment with Photoshop.

Women played a central thematic role in his fashion journalistic works, with a focus on realism. Speaking about women in his photography and his emphasis on natural looks, he said, "I was interested in women. I wanted to show what I liked about them. They would spend two hours in the makeup chair, and I'd try to get them to remove it so they'd look more natural." In his own words, he kept away from pictures of war, disease, and suffering, "not out of indifference to these misfortunes, but because I feel neither the moral justification nor the physical courage to face such situations as a photographer." However, his early photojournalistic works of Paris, had him focus on the city's seedy underbelly to counter the 'heavily romanticized' depictions of the city.

Horvat's later projects were perhaps his most personal. 1999 is a photo-diary of the last year of the millennium, shot with a tiny analog camera designed for amateurs. Entre Vues and La Véronique were taken with the first digital Nikon within a 30-meter range, either inside his home in Provence or in its immediate surroundings. Eye at the Fingertips, which was started in 2006, was photographed with a digital compact camera. His latest enterprise was an iPad application called Horvatland, which contains more than 2,000 photos produced over the course of 65 years with ten hours of commentary. He received the Fondazione del Centenario Award (based in Lugano, Switzerland) in 2010, for his contribution to European culture.

Horvat's latest book, Side Walk, showcasing life in New York city in the 1980s, is to be published on 26 October 2020. He died on 21 October 2020 at the age of 92.

1998 : 51 Photographs in Black and White, Dewi Lewis, Manchester, ISBN 9781899235469

2000 : Frank Horvat, Photopoche no 88, Delpire et Nathan, Paris, ISBN 9782097541437

2004 : La Véronique, thirty meters around my house in Provence, introduction by Renaud Camus, OFF Publications, published by Frank Horvat, Boulogne-Billancourt, France

2008 : De bocche-tette-culi-cazzi-e-mone, illustrations to the erotic poems by Zorzi Baffo, a Venetian aristocrat of the 18th century, OFF Publications, published by Frank Horvat, Boulogne-Billancourt, France

2009 : New York Up and Down (with a text by Franz Kafka), OFF Publications, published by Frank Horvat, Boulogne-Billancourt, France

2009 : Masken und Mandarinen (with texts by the German poetess Ingrid Mylo), OFF Publications, published by Frank Horvat, Boulogne-Billancourt, France

2013 : House of Fifteen Keys, (with texts by Jean-Noël Jeanneney), published by Terre Bleue, ISBN 978-2-909953-30-4

Fashion Horvat : Frank Horvat Exhibition in North Vancouver, 2012

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Frank Horvat (28 April 1928 - 21 October 2020) was an Italian photographer who lived and worked in France. He is best known for his fashion photography, published between the mid 1950s and the late 1980s. Horvat's photographic opus includes photojournalism, portraiture, landscape, nature, and sculpture.

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Lange published 2 photo essays in 1954-1955. A picture of a horse and a girl making butter.  Dorothea Lange was best known for her Depression-Era work for the farm security administration.

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Famous post war photographer W. Eugene Smith who published photo essays on world war two one of his most famous was ¨A man of mercy¨ on Albert Schweitzer which allowed audience to see the world as the subjects did.

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Malcolm Browne photographer and american journalist during the vietnam war and his most famous photograph from this time would be Quang Duo where a Buddhist monk set himself on fire during protest.

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Execution of Viet Cong Guerrilla Eddie Adams, where Vietnamese police man executed Viet Cong suspect.

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This photo was taken by William Anders, on the moon on 1968. and was what created earth  day. People questioned why we never had  a photo of the earth and when Anders took this photo, it was so beautiful that people wanted to celebrate by creating Earth Day.

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Marilyn Monroe is on the front cover of this 1968 edition of Avant Garde which included a whole portfolio of serigraphs (a screen printing technique to transfer a printed design onto a silkscreen). Marilyn Monroe was a celebrity so featuring her in this issue allowed the magazine to influence others in the art world. It appealed to those who were interested in Marilyn Monroe.

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Life Magazine did a special edition magazine where they pictured the lives lost in the Vietnam War. The whole country mourned these soldiers. It changed the way people perceived war because all of a sudden it seemed too real by just seeing all of the lives lost.

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This photo was taken in Japan at Joshinetsu Kogen National Park. The cover image is an image of a monkey bathing in a hot spring. This is a spontaneous photo as it is of a wild animal. The photographer may have wanted to show that monkeys are doing things because of the environment they live in, using hot springs to escape from the cold weather.

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Kent state John Filo, photograph of a hippie man being shot during vietnam war protest.

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Napalm strike Nick Ut, photograph of young girl running and crying after her village is burned during Vietnam War.

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Ronald Reagan winning the 1980 elections-  This photo shows George Bush and Ronald Reagan at some sort of presidential rally. They are posing because they are there to celebrate their victory in the 1980 election. The photographer may have wanted to show that the US was going to enter a healing period. The caption that is written is “GETTING IT TOGETHER.” The captions give the US people hope that this president will be able to fix the economy.

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James Nachtwey who was an american photographer and one of the best war photographers of all time. He photographer conflicts from around the world, in Ireland, South Africa, Middle East, Russia and western Europe and has won 8 awards from 1983-1999. 

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OJ Simpson's mugshot photos was taken by the Los Angeles Police Department. Time Magazine changed it "digitally" given him an "unshaven look" and making his "skin tones darker". Time Magazine was DELIBERATELY changing Simpson's appearance for him to look more "sinister". Altering the photo's appearance and changing skin tones repeatedly.

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REPRESENTATION:
In June of 1994, in the midst of OJ Simpson's murder trial, both TIME magazine and Newsweek featured Simpson's mugshot on their covers.

REALITY:
The two magazines were placed side by side on newsstands and the public immediately saw that TIME 's cover had considerably darkened Simpson's skin. The photo, representing a case already laced with racial tension, caused massive public outcry.

The editor of the magazine provided a public statement on America Online, claiming that "no racial implication was intended, by Time or by the artist." On newstands, the edition was quietly substituted with the unaltered image.

Photoillustrator Mat Mahurin, who was given the image to
"interpret," claimed his edits had no racial agenda. "Much like a stage director would lower the lights on a somber scene," he recalled in a book later published on the history of TIME magazine, "I used my long-established style to give the image a dramatic tone."

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TIME Magazine - OJ Simpson - ALTERED IMAGES

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REPRESENTATION:In June of 1994, in the midst of OJ Simpson's murder trial, both TIME magazine and Newsweek featured Simpson's mugshot on their covers. REALITY:The two magazines were placed side by side on newsstands and the public immediately saw that TIME 's cover had considerably darkened Simpson's skin.

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OJ Simpson's mugshot photos were darkened by Time Magazine. Creating a huge impact in today's history called "photoshop". Photoshopping OJ Simpson's photo on the right, which was darker. While the left side was lighter. With Time Magazine, the use of photoshop impacted in today's society and lately it was to manipulate portraits of celebrities'. Photoshop will criticize celebrities' and using for false ideas and for their beauty.

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The creativity of author, designer and publisher Ben Arogundade

HOW FAR SHOULD a magazine go in documenting the news? This question was raised in 1994 during the OJ Simpson murder case trial, when TIME deliberately darkened his mugshot on their cover. By Ben Arogundade. Sept. 20, 2019.

OJ SIMPSON'S TRIAL BY PHOTOSHOP: During his 1994 murder trial, Hollywood actor and former sports celebrity OJ Simpson appeared on the covers of the June 27, 1994 editions of both 'TIME' and 'Newsweek' magazine simultaneously. Controversy exploded across the news media after 'Time' deliberately darkened Simpson's mugshot to make him appear more sinister.

IT WAS BILLED AS THE TRIAL of the century - a true-life drama which produced 133 days of testimony, 126 witnesses and 857 exhibits entered as evidence. Watched by a global audience in excess of half a billion people, the trial of actor and ex-sports celebrity OJ Simpson for the murder of his wife Nicole, was estimated to have cost the American gross national product $40 million in lost productivity.

MAKING THE OJ SIMPSON NEWS

In the midst of the murder trial, on June 27, 1994, TIME and Newsweek magazines published the same cover image - a mugshot of Simpson obtained from the Los Angeles Police Department's records. But there was one glaring difference between the two cover portraits. While Newsweek used the unaltered mugshot photo of Simpson TIME digitally altered the image for their cover - darkening OJ Simpson's face in what some commentators claimed was a deliberate attempt by the magazine to demonise him. The photo manipulation of OJ's mugshot rendered his blackness both unequivocal and menacing, in a murder case already infused with race - with Simpson, the black defendant, accused of murdering his blonde white wife.

TIME & NEWSWEEK MAGAZINE COVER CONTRAST

The association of dark skin with innate evil has a long history, dating back to the early Christian Fathers of the third century. At the same time, within contemporary culture, dark skin is viewed as less attractive, particularly within the black and South Asian communities, where large quantities of skin-lightening creams are sold every year.

TIME magazine's controversial cover would probably have gone unnoticed if Newsweek's version had not appeared simultaneously, allowing readers to instantly compare the two mugshots of OJ. When the magazine cover was being put together, the bosses at TIME gave the mugshot photograph to graphic artist Matt Mahurin to "interpret". "I wanted to make it more artful, more compelling" he suggested, seemingly unaware of the racial dimension of what he was creating.

The use of Photoshop to manipulate portraits of celebrities has been questioned ever since the technology was first invented in 1990. Fashion magazines in particular have been criticised for using it to create false ideals of beauty, while in 2007 a nationwide debate took place in the American media after a heavily Photoshopped image of country singer Faith Hill was published alongside the original, un-retouched photograph.

OJ's DARK MUGSHOT DRAWS HEAT

In TIME's case, the magazine fielded a barrage of criticism from all quarters about its manipulation of OJ Simpson's mugshot for their cover. Their journalistic ethics were called into question - instead of unbiased reporting of the news, they were guilty of creating their own inauthentic version of it. TIME's managing editor during the period, James R. Gaines, stated that he regretted doctoring the cover photo, and that "no racial implication was intended, by TIME or by the artist."

In a rare about face, the backlash led to the company pulling the edition from the newsstands and replacing it with a revised cover. TIME's newsstand sales are small compared to its subscriber base, and so the original cover, with its darkened OJ mugshot, stayed in circulation throughout homes and offices - inadvertently becoming a collector's piece. Simpson was acquitted of the charge of murdering his wife, but was later jailed for nine years for armed robbery. He was released in 2017.

MUGSHOT MANIPULATION: Hollywood actor and ex-sports star OJ Simpson's original mugshot, and the Photoshopped version used on 'Time' magazine's June 27, 1994 cover, during the murder case trial.

*OJ SIMPSON MURDER CASE & TRIAL - ACCORDING TO GOOGLE SEARCH

The number of people worldwide who Google the question, "Was OJ Simpson guilty?" each month.

The number of people worldwide who Google the question, "Who is OJ Simpson?" each month.

The number of people worldwide who Google the phrase, "OJ Simpson news today 2019" each month.

*All figures for "OJ Simpson Murder Case & Trial - According to Google Search", supplied by Google. Stats include global totals for laptop and desktop computers and mobile devices.

OJ SIMPSON MURDER CASE DOCUMENTARY - PT. 1

What do 2 million fans want to know about the model and TV star?

Who is the Indian actress whose eye colour is Googled more times than Rihanna's?

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OJ Simpson 1994 Murder Case Trial News: Magazine Cover Mugshot Picture Scandal

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The creativity of author, designer and publisher Ben Arogundade HOW FAR SHOULD a magazine go in documenting the news? This question was raised in 1994 during the OJ Simpson murder case trial, when TIME deliberately darkened his mugshot on their cover. By Ben Arogundade. Sept. 20, 2019.

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Bill Clinton admitted to having an affair with Lewinsky while she was working at the white house. This photo caused a lot of controversy as Clinton denied the accusations but later admitted to them several months later. This lead to Bill Clinton being impeached on December 19, 1998.