# data[].attributes.attachment_caption
By far the most significant event in the history of amateur photography was the introduction of the Kodak #1 camera in 1888. Invented and marketed by George Eastman (1854–1932), a former bank clerk from Rochester, New York, the Kodak was a simple box camera that came loaded with a 100-exposure roll of film.

# data[].attributes.attachment_caption
The company is known for creating a consumer market for amateur photography and pioneering the technology that allowed Hollywood movies to be filmed. It is also responsible for easy-to-shoot home movies and the introduction of digital photography.

# data[].attributes.attachment_caption
By far the most significant event in the history of amateur photography was the introduction of the Kodak #1 camera in 1888. Invented and marketed by George Eastman (1854–1932), a former bank clerk from Rochester, New York, the Kodak was a simple box camera that came loaded with a 100-exposure roll of film. Photography didn't truly become accessible to amateurs until the mid-1880s, when inventor George Eastman began producing film on rolls. Film was more lightweight and resilient than clunky glass plates, and the use of a roll allowed photographers to take multiple pictures in quick succession.

# data[].attributes.headline
Kodak was published for the public to buy(1888)

# data[].attributes.subject
Kodak was published for the public to buy(1888)

# data[].attributes.attachment_caption
Alfred Stieglitz was born on January 1, 1864 in Hoboken, NJ and he passed away on July 13, 1946 in New York. Alfred Stieglitz HonFRPS was an American photographer and modern art promoter who was instrumental over his 50-year career in making photography an accepted art form. Alfred Stieglitz is undoubtedly one of the most significant contributors to the history of photography. He contributed not only scientific and artistic photographic studies, but also introduced modern art to America and furthered the theory of photography as art.

# data[].attributes.attachment_caption
Stieglitz's series of photographs of clouds, which he called Equivalents (49.55. 29), were made in a similar spirit, embodying this last idea perfectly. The cloud pictures were unmanipulated portraits of the sky that functioned as analogues of Stieglitz's emotional experience at the moment he snapped the shutter.

# data[].attributes.attachment_caption
During this time, 50 numbered issues were released. Of the 50, 44 were regular issues, 3 were double issues (no. 34 & 35, no. 42 & 43, and no. 49 & 50), 2 were special numbers, and 1 was a supplemental issue devoted to the photography of Edward Steichen, who was also responsible for every publication’s cover design.

# data[].attributes.attachment_caption
Founded by Alfred Stieglitz in New York in 1902, the name was invented by him as a way of affiliating the photographers with the modernist secession movements in Europe. The other members were Alvin Langdon Coburn, Gertrude Käsebier, Edward Steichen and Clarence H.

# data[].attributes.attachment_caption
Stieglitz edited and published the important quarterly Camera Work and opened the Little Galleries of the Photo-Secession (also known as “291,” the gallery's address on Fifth Avenue), providing a place for the members to exhibit their work. ... By 1910, however, the members of the Photo-Secession had become divided.

# data[].attributes.attachment_caption
Edward Sheriff Curtis was an American photographer and ethnologist whose work focused on the American West and on Native American people.

# data[].attributes.attachment_caption
Eventually, he took more than 40,000 photographs; made over 10,000 recordings of Native speech and music; produced lectures, slide shows, and a multi-media Curtis Indian Picture Opera throughout the U.S.; and in 1914 directed In the Land of the Headhunters, an inventive, seminal film documentary on the Kwakiutl tribe.

# data[].attributes.headline
40,000 images Native speech and music(1914)

# data[].attributes.subject
40,000 images Native speech and music(1914)

# data[].attributes.attachment_caption
Edward S. Curtis worked in the belief that he was in a desperate race against time to document, with film, sound and scholarship, the North American Indian before white expansion and the federal government destroyed what remained of their natives’ way of life.  For thirty years, with the backing of men like J. Pierpont Morgan and former president Theodore Roosevelt, but at great expense to his family life and his health, Curtis lived among dozens of native tribes, devoting his life to his calling until he produced a definitive and unparalleled work, The North American Indian. The New York Herald hailed as “the most ambitious enterprise in publishing since the production of the King James Bible.”

# data[].attributes.headline
Edward S. Curtis' Canon de Chelly—Navajo (1904). 

# data[].attributes.subject
Edward S. Curtis' Canon de Chelly—Navajo (1904). 

# data[].attributes.attachment_caption
Frank Bunker Gilbreth was an American engineer, consultant, and author known as an early advocate of scientific management and a pioneer of time and motion study, and is perhaps best known as the father and central figure of Cheaper by the Dozen.

# data[].attributes.attachment_caption
A time and motion study (or time-motion study) is a business efficiency technique combining the Time Study work of Frederick Winslow Taylor with the Motion Study work of Frank and Lillian Gilbreth (the same couple as is best known through the biographical 1950 film and book Cheaper by the Dozen).

# data[].attributes.attachment_caption
Frank Gilbreth was the first person to ever create a light painting image. He created the image to study the movements of workers in what he called “Work Simplification Studies”. By attaching a small light to the workers hands and tools he used the open shutter of a camera to trace their movements. Motion studies conducted by Frank B. Gilbreth were undertaken to analyze the efficiency and productive capacity of industrial workers. Photographs were made as single prints, in stereo, or as time series recording component operations which constitute a larger process.

# data[].attributes.attachment_caption
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. 

# data[].attributes.attachment_caption
To raise awareness of the abuses of child labor, the NCLC hired sociologist Lewis Hine to photograph children working in fields, factories, mines, and city streets. His photos and reports, produced between 1908 and 1924, fueled public opinion and inspired Congress to enact national child labor legislation.

# data[].attributes.headline
Lewis Hine Exposing Child Labor(1908-1924)

# data[].attributes.subject
Lewis Hine Exposing Child Labor(1908-1924)

# data[].attributes.attachment_caption
Hine's photographs were instrumental for the state of American workers and American children, ultimately helping to reform the child labor laws in the U.S. His use of free speech and free press influenced and awakened Americans' consciences, effectively proving that the camera can be a powerful tool.

# data[].attributes.attachment_caption
Paul Strand was an American photographer and filmmaker who, along with fellow modernist photographers like Alfred Stieglitz and Edward Weston, helped establish photography as an art form in the 20th century. In the 1930s, he helped found the Photo League.

# data[].attributes.attachment_caption
During the two years Strand spent in Mexico, he traveled the countryside with his Korona and Graflex large format cameras. He explored small towns, churches, religious icons, and the people who inhabited the land. Strand, like many of the artists who were making art at the Taller de Gráfica Popular print studio, worked on this project during the period when the post-revolution government sought to establish a modern national culture that would capture Mexico’s unique character.

# data[].attributes.headline
Paul Strand · The Mexican Portfolio(1932)

# data[].attributes.subject
Paul Strand · The Mexican Portfolio(1932)

# data[].attributes.attachment_caption
The American artist Paul Strand had a long and productive career with the camera. His pictorialist studies of the 1910s, followed by the coolly seductive machine photographs of the 1920s, like the contemporary work of Alfred Stieglitz and Edward Weston, helped define the canon of early American modernism and set a premium on the elegant print. Experimenting with Charles Sheeler, Strand then pushed further in describing the movement of the city in the short film Manhatta (1920). In the 1930s, he became seriously involved with documentary film and, from the 1940s until the end of his life, he was committed to making photographic books of the highest quality. 

# data[].attributes.attachment_caption
John Heartfield (born Helmut Herzfeld; 19 June 1891 – 26 April 1968) was a German visual artist who pioneered the use of art as a political weapon. Some of his most famous photomontages were anti-Nazi and anti-fascist statements. Heartfield also created book jackets for book authors, such as Upton Sinclair, as well as stage sets for contemporary playwrights, such as Bertolt Brecht and Erwin Piscator.

# data[].attributes.attachment_caption
He is best known for the 240 political art photomontages he created from 1930 to 1938, mainly criticising fascism and Nazism. His photomontages satirising Adolf Hitler and the Nazis often subverted Nazi symbols such as the swastika in order to undermine their propaganda message.

# data[].attributes.attachment_caption
Heartfield intentionally aimed to show his technique and perform his social identity as an artist, as he conceived it in 1929. He designed this violent image for the well-established mass-circulating leftist AIZ. The image insists on being understood in pictorial terms due to the absence of any text.

# data[].attributes.attachment_caption
George Edward Hurrell was a photographer who contributed to the image of glamour presented by Hollywood during the 1930s and 1940s. 

# data[].attributes.attachment_caption
George Hurrell (American, 1904–1992) was a photographer best known for his portraits of Hollywood movie stars. Born in Kentucky, Hurrell developed an early interest in painting and photography, eventually studying at the Art Institute of Chicago.

# data[].attributes.attachment_caption
Hurrell sculpted his subjects' faces with light and shadow, using an easily movable boom light that he modeled on a boom microphone, to illuminate cheekbones and create shadows under the eyes and nose. Iconic Hollywood glamour photographer George Hurrell became known for his use of a large overhead skylight in his studio. Hurrell often used the skylight as the main key light and added additional lights and reflectors to fill in shadow areas.

# data[].attributes.attachment_caption
The Daily News (originally the Illustrated Daily News) was a newspaper published in Los Angeles from 1923 to 1954. It was founded in 1923 by Cornelius Vanderbilt IV and bought by Manchester Boddy who operated it through most of its existence.

# data[].attributes.attachment_caption
Cornelius Jonah Vanderbilt IV (April 30, 1898 – July 7, 1974) was a newspaper publisher, journalist, author, and military officer.[1] He was an outcast of high society, and was disinherited by his parents when he became a newspaper publisher. He desired to live a "normal" life but was burdened by large debt and could not maintain the lifestyle associated with his family's social position to which he had become accustomed.

# data[].attributes.headline
Founder OF The Illustrated Daily News Cornelius Jonah Vanderbilt IV(1898-1974) 

# data[].attributes.subject
Founder OF The Illustrated Daily News Cornelius Jonah Vanderbilt IV(1898-1974) 

# data[].attributes.attachment_caption
The Daily News was founded in 1923 by Vanderbilt as the first of several newspapers he wanted to manage. After quickly going into receivership, it was sold to Boddy, a businessman with no newspaper experience. Boddy was able to make the newspaper succeed, and it remained profitable through the 1930s and 1940s, taking a Democratic perspective at a time when most Los Angeles newspapers supported the Republican Party.The newspaper began a steep decline in the late 1940s, continuing into the early 1950s. In 1950, Boddy ran in both the Democratic and Republican primaries for the United States Senate. He finished a distant second in each, and lost interest in the newspaper. He sold his stake in the paper in 1952 and, after changes in ownership, ceased publication in December 1954; the business was sold to the Chandler family, who merged it with their publication, the Los Angeles Mirror, firing all Daily News employees without severance pay.

# data[].attributes.attachment_caption
The Associated Press (also called the AP and AP Wire) is an American non-profit news media company. It is based in New York City. The AP is a non-profit cooperative owned by the newspapers, radio and Television stations who share its news stories.

# data[].attributes.attachment_caption
Exactly 80 years ago today, on Jan. 1, 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. 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.

# data[].attributes.attachment_caption
AT&T had made a previous attempt at their own photo wire service. In 1926, the telephone company had succeeded in setting up eight sending and receiving centers across the nation, which AP and other outlets had put to use. It was, however, a hugely expensive endeavor for the company and its users; after spending over $3m dollars with comparatively small returns, the service was shut down in 1933.

# data[].attributes.attachment_caption
The Hindenburg disaster was an airship accident that occurred on May 6, 1937, in Manchester Township, New Jersey, United States. The German passenger airship LZ 129 Hindenburg caught fire and was destroyed during its attempt to dock with its mooring mast at Naval Air Station Lakehurst. The accident caused 35 fatalities (13 passengers and 22 crewmen) from the 97 people on board (36 passengers and 61 crewmen), and an additional fatality on the ground.

# data[].attributes.attachment_caption
Murray Becker was one of the key photographers of the Hindenburg disaster, the crash of a Nazi dirigible at Lakehurst, NJ on May 6, 1937. The Murray Becker collection consists predominantly of sixteen silver gelatin prints of the Hindenburg disaster. It also includes an oversized scrapbook of newspaper articles and photos covering the disaster, as well as a well-known photograph of a teary-eyed Lou Gehrig announcing his retirement from baseball. On May 6, 1937 Becker and a score of other photographers including Sam Shere of the International News Photo (INP) and Charles Hoff of the New York Daily News appeared for a routine night landing of the Hindenburg. As the dirigible pulled in, lines were dropped from the aircraft so that it could be safely reined in to the ground below. Without warning, an explosion was heard, and the entire aircraft was consumed by flame in about 47 seconds. During those 47 seconds, when other photographers present shot one photograph at the most, Murray Becker quickly exposed three negatives using his 4x5 Speed Graphic camera. The following day pictures of the event were reproduced in thousands of newspapers around the globe.

# data[].attributes.attachment_caption
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.

# data[].attributes.headline
The Explosion That Shocked The World(1939)

# data[].attributes.subject
The Explosion That Shocked The World(1939)

# data[].attributes.attachment_caption
Arthur (Usher) Fellig (June 12, 1899 – December 26, 1968), known by his pseudonym Weegee, was a photographer and photojournalist, known for his stark black and white street photography in New York City. Weegee worked in Manhattan's Lower East Side as a press photographer during the 1930s and 1940s and developed his signature style by following the city's emergency services and documenting their activity.[2] Much of his work depicted unflinchingly realistic scenes of urban life, crime, injury and death. Weegee published photographic books and also worked in cinema, initially making his own short films and later collaborating with film directors such as Jack Donohue and Stanley Kubrick.

# data[].attributes.attachment_caption
In 1938, Fellig became the only New York freelance newspaper photographer with a permit to have a portable police-band shortwave radio. Weegee worked mostly at night; he listened closely to broadcasts and often beat authorities to the scene.[20]Five of his photographs were acquired by the Museum of Modern Art (MoMA) in 1943. These works were included in its exhibition Action Photography.[21] He was later included in "50 Photographs by 50 Photographers", another MoMA show organized by photographer Edward Steichen,[21] and he lectured at the New School for Social Research. Advertising and editorial assignments for magazines followed, including Life and beginning in 1945, Vogue.

# data[].attributes.attachment_caption
For decades, Weegee has been collected as art, thus restoring some of the original other-half dynamic between viewer and image. Coffee-table books of his work abound: “Unknown Weegee” (2006), produced for an exhibition at the International Center of Photography, is the least hefty and best arranged; “Weegee’s New York: Photographs 1935-1960” (1982) is the grittiest. These have recently been joined by “Extra! Weegee!” (Hirmer), which contains nearly four hundred photographs, alongside the original, often exuberant, captions affixed by Acme Newspictures, the agency through which Weegee sold them. But there has been no complete biography of the photographer. Now Christopher Bonanos’s “Flash: The Making of Weegee the Famous” (Holt) has displaced a host of fragmentary recollections and the loudmouthed, unreliable memoir, “Weegee by Weegee,” published in 1961

# data[].attributes.attachment_caption
Henry Robinson Luce (April 3, 1898 – February 28, 1967) was an American magazine magnate who was called "the most influential private citizen in the America of his day".[1] He launched and closely supervised a stable of magazines that transformed journalism and the reading habits of millions of Americans. Time summarized and interpreted the week's news; Life was a picture magazine of politics, culture, and society that dominated American visual perceptions in the era before television; Fortune reported on national and international business; and Sports Illustrated explored the world of sports. Counting his radio projects and newsreels, Luce created the first multimedia corporation. He envisaged that the United States would achieve world hegemony, and, in 1941, he declared the 20th century would be the "American Century".

# data[].attributes.attachment_caption
Once ambitious to become Secretary of State in a Republican administration, Luce penned a famous article in Life magazine in 1941, called "The American Century", which defined the role of American foreign policy for the remainder of the 20th century (and perhaps beyond).

# data[].attributes.attachment_caption
When Life magazine launched on 23 November 1936, its mission, as stated by its creator Henry Luce, was to enable the American public “to see life; to see the world; to eyewitness great events … to see and be amazed; to see and be instructed…” For the 36 years that marked its golden age, the US weekly informed the country’s views on politics, war, race and national identity through images. With its cohort of star photographers such as Gordon Parks, Margaret Bourke-White and Alfred Eisenstadt, Life helped pioneer US photojournalism. Many of the photographs became iconic works of art in their own right, helping to shape our global collective memory of the 20th Century.

# data[].attributes.attachment_caption
Dorothea Lange, a documentary photographer, and photojournalist is best known for her Depression-era work for the Farm Security Administration (FSA). Lange’s photographs humanized the consequences of the Great Depression and influenced the development of documentary photography.Born on May 26, 1895, in Hoboken, New Jersey, she was initially named Dorothea Margaretta Nutzhorn at birth. Her early life was not easy, as she contracted polio at the age of seven, which left her with a weakened right leg and a permanent limp. Another traumatic event occurred when she was 12 years old, and her father abandoned the family. It was after this that she dropped her middle name and assumed her mother’s maiden name.Lange studied photography in New York City and, in 1918, decided to travel the world with a friend. However, that was cut short in San Francisco, California, when she was robbed, forcing her to stay where she earned her living as a portrait photographer for more than a decade.

# data[].attributes.attachment_caption
During the Great Depression, Lange photographed the desperate situation of the unemployed men she saw in San Francisco. Her photographs, notably White Angel Bread Line (1933), received immediate recognition and led to a commission in 1935 from the U.S. Resettlement Administration to photograph migrant workers.

# data[].attributes.attachment_caption
Although Dorothea Lange was drawn to the family by chance, this iconic photo was captured through five different exposures of Thompson and her children. These images reveal the tent-structure they lived in as well as a clearer view of the baby sleeping in Thompson's arms.

# data[].attributes.headline
Dorothea Lange Help With Her Pictures(1933)

# data[].attributes.subject
Dorothea Lange Help With Her Pictures(1933)

# data[].attributes.attachment_caption
Gordon Roger Alexander Buchanan Parks (November 30, 1912 – March 7, 2006) was an American photographer, musician, writer and film director, who became prominent in U.S. documentary photojournalism in the 1940s through 1970s—particularly in issues of civil rights, poverty and African-Americans—and in glamour photography.

# data[].attributes.attachment_caption
Gordon Parks was one of the most groundbreaking figures in 20th century photography. 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.

# data[].attributes.attachment_caption
Gordon Parks' cinematic photos captured the injustices of the civil rights era. He photographed fashion for Vogue, directed the 1971 blaxploitation film "Shaft," composed orchestral scores, and wrote memoirs, novels and poems.

# data[].attributes.attachment_caption
Ansel Easton Adams was an American landscape photographer and environmentalist known for his black-and-white images of the American West. He helped found Group f/64, an association of photographers advocating "pure" photography which favored sharp focus and the use of the full tonal range of a photograph. 

# data[].attributes.attachment_caption
The zone-system of Ansel Adams divides the photo into eleven zones; nine shades of gray, together with pure black and pure white. ... Adams, who photographed in black in white negative film made sure to expose for the darkest parts of his scenery. This way he prevented to have pure black in the photo.

# data[].attributes.attachment_caption
When speaking of Ansel Adams’ photography, the most famous is Monolith, the Face of Half Dome. This was Adams’ first photograph that gathered the attention of the public and the art world. Using his Korona camera, Adams captured his iconic photo of Half Dome in Yosemite National Park after a difficult hike. Initially using a yellow filter, he then swapped it for a red filter to darken the sky, brightened the snow, and brought forth all the monumental detail and enormity of Half Dome, making it glow under the black sky.

# data[].attributes.headline
Ansel Adams The Face Of The Half Dome(1927)

# data[].attributes.subject
Ansel Adams The Face Of The Half Dome(1927)

# data[].attributes.attachment_caption
Robert Capa (born Endre Ernő Friedmann; October 22, 1913 – May 25, 1954) was a Hungarian-American war photographer and photojournalist as well as the companion and professional partner of photographer Gerda Taro. He is considered by some to be the greatest combat and adventure photographer in history. Capa had fled political repression in Hungary when he was a teenager, moving to Berlin, where he enrolled in college. He witnessed the rise of Hitler, which led him to move to Paris, where he met and began to work with Gerta Pohorylle. Together they worked under the alias Robert Capa and became photojournalists. Though she contributed to much of the early work, she quickly created her own alias 'Gerda Taro' and they began to publish their work separately. He subsequently covered five wars: the Spanish Civil War, the Second Sino-Japanese War, World War II across Europe, the 1948 Arab–Israeli War, and the First Indochina War, with his photos published in major magazines and newspapers.

# data[].attributes.attachment_caption
In a year in which we have gone out of our way to recall the 75th anniversary of the Blitz, the World War II German bombing campaign against English cities that lasted from September 1940 to May 1941, there’s a neglected book on wartime London featuring the photographs of Robert Capa that deserves our attention this Veterans Day.ADVERTISEMENTThat book, originally published by Random House, is the 1941 The Battle of Waterloo Road, which Capa did with the British journalist Diana Forbes-Robertson, and it captures with visual brilliance what happens when a war of terror is unleashed on an entire population and the population fights back with the only tool at its disposal—its pluck.

# data[].attributes.attachment_caption
Margaret Bourke-White was the first female war photojournalist. She was from New York and began her photography career with architectural and commercial subjects. In the middle of World War II, she traveled to a ravaged Europe and penned several valuable photo essays. In the year 1941, she was one of few Western photographers to witness the German attack on Moscow and in 1945, she traveled with the army of General Patton when they freed a number of concentration camps. 

# data[].attributes.headline
Margaret Bourke-White and World War II (USA)(1940)

# data[].attributes.subject
Margaret Bourke-White and World War II (USA)(1940)

# data[].attributes.attachment_caption
A number of innovative photojournalists also worked in the Soviet Union. A detriment to their work was the fact that everything, including photography, was subject to strict censorship under the Soviet regime. Photographs were to represent Soviet thinking, celebrate the Soviet people, and display their armies’ victories. Even Baltermants wasn’t exempt. He covered the most famous battles of the Soviet army, including the Battle of Stalingrad. Many of his best photographs did not even come to light until the seventies, after a partial dismantling of the regime. 

# data[].attributes.headline
Dmitri Baltermants and World War II (USSR)(1934)

# data[].attributes.subject
Dmitri Baltermants and World War II (USSR)(1934)

# data[].attributes.attachment_caption
On February 23, 1945, six U.S. Marines planted an American flag atop a battle-blasted hill on the island of Iwo Jima, a fiercely defended Japanese stronghold. Photographer Joe Rosenthal got lucky and captured the moment in a single, immortal image. Within weeks the photograph became the theme of the U.S. Government’s seventh War Bond drive. A postage stamp bore the image. The scene has been reenacted multiple times on screen.Most enduringly, perhaps, a monumental sculpture of the flag raising, based entirely on Rosenthal’s Associated Press photo, stands guard above the Potomac River across from Washington, D.C.And it’s all because Rosenthal swung his bulky Graflex 4x5 camera in the right direction at the right split-second and snapped the shot—without even looking through his viewfinder.The resulting photo is so perfect—in capturing an essential moment, in depicting the courage and camaraderie of fighting men, in meeting virtually every time-honored standard of artistic composition—that for the rest of his life, Rosenthal had to rebut charges that he set up the whole thing.

# data[].attributes.attachment_caption
American photographer Richard Avedon was best known for his work in the fashion world and for his minimalist portraits. He worked first as a photographer for the Merchant Marines, taking identification photos. He then moved to fashion, shooting for Harper's Bazaar and Vogue, demanding that his models convey emotion and movement, a departure from the norm of motionless fashion photography.

# data[].attributes.attachment_caption
Richard Avedon was the most influential fashion photographer of the post-war era. His enduring images helped to define America's image of style, beauty and culture for the second half of the twentieth century. At the age of twenty-two, Avedon began working as a freelance photographer, primarily for Harper's Bazaar.

# data[].attributes.attachment_caption
Celebrated American portraitist Richard Avedon aimed to uncover the true personalities of everyone he photographed—including celebrities from a diversity of disciplines. His famous subjects ranged from pianist, composer, and conductor Sergei Rachmaninoff (who Avedon photographed when he was not much older than 10) to President Barack Obama (whose portrait he made in 2004, when he was Illinois State Senator).Actress and pop culture icon Marilyn Monroe was also among Avedon’s sitters. Recalling a portrait session with Monroe that took place in his studio in May 1957, he said, “For hours she danced and sang and flirted and did this thing that’s—she did Marilyn Monroe. And then there was the inevitable drop. And when the night was over and the white wine was over and the dancing was over, she sat in the corner like a child, with everything gone. I saw her sitting quietly without expression on her face, and I walked towards her but I wouldn’t photograph her without her knowledge of it. And as I came with the camera, I saw that she was not saying no.”1 Avedon managed to capture one of the most photographed stars with her public façade down, producing an image that provides a rare glimpse of her inner life.

# data[].attributes.attachment_caption
Edward Jean Steichen (March 27, 1879 – March 25, 1973) was a Luxembourgish American photographer, painter, and curator, renowned as one of the most prolific and influential figures in the history of photography. From 1947 to 1961, Steichen served as Director of the Department of Photography at New York's Museum of Modern Art. While there, he curated and assembled exhibits including The Family of Man, which was seen by nine million people. In 2003, the Family of Man photographic collection was added to UNESCO's Memory of the World Register in recognition of its historical value.

# data[].attributes.headline
Edward Steichen Author Of The Family Of Man(1829-1973)

# data[].attributes.subject
Edward Steichen Author Of The Family Of Man(1829-1973)

# data[].attributes.attachment_caption
The Family of Man was an ambitious exhibition of 503 photographs from 68 countries curated by Edward Steichen, the director of the New York City Museum of Modern Art's (MoMA) Department of Photography. According to Steichen, the exhibition represented the "culmination of his career." The title was taken from a line in a Carl Sandburg poem.

# data[].attributes.attachment_caption
The physical collection is archived and displayed at Clervaux Castle in Edward Steichen's home country of Luxembourg, where he was born in 1879 in Bivange. It was first exhibited there in 1994 after restoration of the prints. In 2003 the Family of Man photographic collection was added to UNESCO's Memory of the World Register in recognition of its historical value.

# data[].attributes.attachment_caption
Robert Frank was a Swiss photographer and documentary filmmaker, who became an American binational. His most notable work, the 1958 book titled The Americans, earned Frank comparisons to a modern-day de Tocqueville for his fresh and nuanced outsider's view of American society.

# data[].attributes.attachment_caption
The Americans is a photographic book by Robert Frank which was highly influential in post-war American photography. It was first published in France in 1958, and the following year in the United States. The photographs were notable for their distanced view of both high and low strata of American society.

# data[].attributes.attachment_caption
Frank became a professional industrial photographer at the age of 22 and in the 1940s became a successful fashion photographer for Harper’s Bazaar magazine in Paris. He felt, however, that the scope of the work was too limited. He abandoned fashion photography about 1948 and went to the United States and then to Peru to explore the expressive possibilities of the 35-mm camera.

# data[].attributes.attachment_caption
Emmett Louis Till was a 14-year-old African American who was lynched in Mississippi in 1955, after being accused of offending a white woman in her family's grocery store.

# data[].attributes.attachment_caption
Emmett Till's murder was a spark in the upsurge of activism and resistance that became known as the Civil Rights movement. The sight of his brutalized body pushed many who had been content to stay on the sidelines directly into the fight.

# data[].attributes.attachment_caption
Three days later, Till's body was discovered and retrieved from the river.Till's body was returned to Chicago where his mother insisted on a public funeral service with an open casket which was held at Roberts Temple Church of God in Christ.[4] It was later said that "The open-coffin funeral held by Mamie Till Bradley exposed the world to more than her son Emmett Till's bloated, mutilated body. Her decision focused attention not only on U.S. racism and the barbarism of lynching but also on the limitations and vulnerabilities of American democracy".[5] Tens of thousands attended his funeral or viewed his open casket, and images of his mutilated body were published in black-oriented magazines and newspapers, rallying popular black support and white sympathy across the U.S. Intense scrutiny was brought to bear on the lack of black civil rights in Mississippi, with newspapers around the U.S. critical of the state. Although local newspapers and law enforcement officials initially decried the violence against Till and called for justice, they responded to national criticism by defending Mississippians, temporarily giving support to the killers.In September 1955, an all-white jury found Bryant and Milam not guilty of Till's murder. Protected against double jeopardy, the two men publicly admitted in a 1956 interview with Look magazine that they had killed Till. Till's murder was seen as a catalyst for the next phase of the civil rights movement. In December 1955, the Montgomery bus boycott began in Alabama and lasted more than a year, resulting eventually in a U.S. Supreme Court ruling that segregated buses were unconstitutional. According to historians, events surrounding Emmett Till's life and death continue to resonate. An Emmett Till Memorial Commission was established in the early 21st century. The Sumner County Courthouse was restored and includes the Emmett Till Interpretive Center. Fifty-one sites in the Mississippi Delta are memorialized as associated with Till.

# data[].attributes.attachment_caption
All of Lyon's publications work in the style of photographic New Journalism,[4] meaning that the photographer has become immersed in with, and is a participant of, the documented subject. He is the founding member of the publishing group Bleak Beauty.After being accepted as the photographer for Student Nonviolent Coordinating Committee (SNCC), Lyon was present at almost all of the major historical events during the Civil Rights Movement. He has had solo exhibits at the Whitney Museum of American Art, the Art Institute of Chicago, the Menil Collection, the M. H. de Young Memorial Museum in San Francisco and the Center for Creative Photography at the University of Arizona. Lyon twice received a Guggenheim Fellowship; a Rockefeller Fellowship,[citation needed] Missouri Honor Medal for Distinguished Service in Journalism; and a Lucie Award.

# data[].attributes.attachment_caption
From 1963 to 1964, Danny Lyon, a photographer from Brooklyn, New York, traveled in the South to document the civil-rights movement. He was a white man, sympathetic to the movement and considered himself a “photographer as participant.” Fifty-seven of his black-and-white photos — capturing sit-ins, arrests, protests, speeches and more — are on view in “Danny Lyon: Memories of the Southern Civil Rights Movement” in Capital University’s Schumacher Gallery. Along with the Lyon photos are 22 photos and four large wood panels printed with messages  all created by local artists during the summer’s Black Lives Matter events in Columbus. The pairing nicely bridges two eras of protest, significant all year, not just during Black History Month.Lyon’s photos were published in the book, “The Movement,” and later in “Memories of the Southern Civil Rights Movement,” his memoir of his years working for the Student Nonviolent Coordinating Committee (SNCC).The photos capture a variety of well-known civil-rights leaders. The Rev. Martin Luther King Jr. and Rev. Ralph Abernathy are shown being escorted back to jail in Albany, Georgia, in 1962.

# data[].attributes.attachment_caption
The Birmingham riot of 1963 was a civil disorder and riot in Birmingham, Alabama, that was provoked by bombings on the night of May 11, 1963. The bombings targeted African-American leaders of the Birmingham campaign, a mass protest for civil rights.

# data[].attributes.attachment_caption
Fifty years ago today, the national police chief of South Vietnam calmly approached a prisoner in the middle of a Saigon street and fired a bullet into his head.A few feet away stood Eddie Adams, an Associated Press photographer, eye to his viewfinder. On a little piece of black-and-white film, he captured the exact moment of the gunshot.The police chief, Brig. Gen. Nguyen Ngoc Loan, stands with his back to the camera, right arm fully extended, left arm loosely by his side. The prisoner, Nguyen Van Lem, is a Vietcong fighter but wears no uniform, only a plaid shirt and black shorts. His hands are cuffed behind his back. Though in his 30s, he looks little older than a boy. His face is contorted from the bullet’s impact.By morning, this last instant of his life would be immortalized on the front pages of newspapers nationwide, including The New York Times. Along with NBC film footage, the image gave Americans a stark glimpse of the brutality of the Vietnam War and helped fuel a decisive shift in public opinion.

# data[].attributes.attachment_caption
Catherine Leroy (August 27, 1944 - July 8, 2006) was a French-born photojournalist and war photographer, whose stark images of battle illustrated the story of the Vietnam War in the pages of Life magazine and other publications. Upon her arrival in Saigon in 1966, Leroy met the photographer Horst Faas, bureau chief of the Associated Press. A year later she became the first accredited journalist to participate in a combat parachute jump on 23 February 1967, joining the 173rd Airborne Brigade in Operation Junction City. She was so small and thin that she had to be weighed down so as not to be blown away during the jump. She had her press credentials temporarily suspended after she swore at a Marine officer who she felt was condescending in denying her request to jump shortly after Operation Junction City. During the battle for Hill 881 on 30 April 1967 she took a series of photos of U.S. Navy Corpsman Vernon Wike tending to a dying Marine which were published in Life to critical acclaim. was one of three taken in quick succession. In the pictures Wilke is crouched in tall grass cradling a Marine who has been shot while smoke from the battle rises into the air behind them. In the first frame Wike has two hands on the Marine's chest, trying to staunch the wound. In the second, he is trying to find a heartbeat. In the third frame, "Corpsman In Anguish", he has just realised the man is dead.[4]On 19 May 1967 while photographing Operation Hickory with a Marine unit near the Vietnamese Demilitarized Zone she was severely injured by People's Army of Vietnam (PAVN) mortar fire.[8] Leroy would later credit a camera with saving her life by stopping some of the shrapnel.[3] She was evacuated first to Con Thien, then to the USS Sanctuary, where she was visited by III Marine Amphibious Force commander General Lew Walt. She was then transferred to a hospital in Danang and discharged in mid-June. 95–7 In September 1967 she photographed the siege of Con Thien. In October 1967 she visited her family in Paris and flew back via New York where she signed a contract with the Black Star photo agency

# data[].attributes.attachment_caption
Bodies of US paratroopers lie near a command post during the battle of An Ninh, 18 September 1965. The paratroopers, of the 1st Brigade, 101st Airborne Division, were hit by heavy fire from guerrillas that began as soon as the first elements of the unit landed. The dead and wounded were later evacuated to An Khe, where the 101st was based. The battle was one of the first of the war between major units of US forces and the Vietcong

# data[].attributes.attachment_caption
A 1st Cavalry Division soldier throws a rice basket on to the flames as his unit sweeps through a village near Tam Ky, 350 miles north-east of Saigon, on 27 October 1967. A peasant woman had tried to salvage the basket from the burning house, but US troops were intent on destroying anything that might be of value to the Vietcong

# data[].attributes.attachment_caption
In June 1969, LIFE magazine published a feature that remains as moving and, in some quarters, as controversial as it was when it intensified a nation’s soul-searching 45 years ago. On the cover was the image of a young man and 11 stark words: “The Faces of the American Dead in Vietnam: One Week’s Toll.” Inside, across 10 funereal pages, LIFE published picture after picture and name after name of 242 young men killed in seven days halfway around the world “in connection with the conflict in Vietnam.”To no one’s surprise, the public’s response was immediate, and visceral. Some readers expressed amazement, in light of the thousands of American deaths suffered in a war with no end in sight, that it took so long for LIFE to produce something as dramatic and pointed as “One Week’s Toll.” Others were outraged that the magazine was, as one reader saw it, “supporting the antiwar demonstrators who are traitors to this country.” Still others perhaps the vast majority were quietly and disconsolately devastated.

# data[].attributes.attachment_caption
On June 27, 1969, Life magazine published an issue that sparked controversy and emotion across the country. It featured the names and photos of more than 200 American troops who had been killed in just one week in the Vietnam War.

# data[].attributes.attachment_caption
In this May 1969 file photo, a wounded U.S. paratrooper of the 101st Airborne Division is helped through a blinding rainstorm by two medics after being evacuated from Dong Ap Bia during the 10-day battle for Hamburger Hill.

# data[].attributes.attachment_caption
Stewart Brand (born December 14, 1938) is an American writer, best known as editor of the Whole Earth Catalog. He founded a number of organizations, including The WELL, the Global Business Network, and the Long Now Foundation. He is the author of several books, most recently Whole Earth Discipline: An Ecopragmatist Manifesto.

# data[].attributes.attachment_caption
50 Years Ago, the Whole Earth Catalog Launched and Reinvented the Environmental Movement. In the fall of 1968 a Stanford-trained biologist, organizer of the legendary Trips Festival and Merry Prankster named Stewart Brand published the first Whole Earth Catalog.

# data[].attributes.attachment_caption
In 1968, Stewart Brand founded the Whole Earth Catalog. Brand's goals were to make a variety of tools accessible to newly dispersed counterculture communities, back-to-the-land households, and innovators in the fields of technology, design, and architecture, and to create a community meeting-place in print.

# data[].attributes.attachment_caption
NASA astronauts have taken more than 900,000 images from space. But 75 years ago — before Scott Kelly was given a Nikon D4, and before the famous “Blue Marble” full view of Earth — there was this. The very first photograph of Earth from space. It was taken on October 24, 1946.

# data[].attributes.attachment_caption
Earthrise is a photograph of Earth and some of the Moon's surface that was taken from lunar orbit by astronaut William Anders on December 24, 1968, during the Apollo 8 mission. Nature photographer Galen Rowell described it as "the most influential environmental photograph ever taken".

# data[].attributes.attachment_caption
The first photograph of Earth from the Moon taken by Lunar Orbiter 1 in 1966, reprocessed by the LOIRP for comparison.Anders' color image had been preceded by a crude black-and-white 1966 raster image taken by the Lunar Orbiter 1 robotic probe, the first American spacecraft to orbit the Moon.

# data[].attributes.attachment_caption
Anyone who has seen the movie My Cousin Vinny (1992) knows how a snapshot can save the day. In the film, inexperienced New York lawyer Vincent LaGuardia “Vinny” Gambini travels to a small southern town with his fiancée, Mona Lisa Vito, to represent his cousin in a murder case. Mona Lisa’s incessant picture taking with a cheap pocket camera causes frustration throughout the film, but eventually produces a photograph that holds the key to the case.Photography of everything from landscapes to historical events has preserved and illustrated history for the past 200 years. When a photograph of a forged document was presented and allowed as courtroom evidence in 18511, photography as a forensic tool was born and soon became a boon to cases of identification and scene analysis. Crime scene photography became cutting edge in the 1870s and new technologies have expanded its use ever since.

# data[].attributes.attachment_caption
Crime scene photography first began in the late nineteenth and early twentieth centuries, when both the criminal justice system and photographic technology were modernizing. Photographs began to be used by law enforcement because of the accuracy they were believed to bring to documenting and investigating crimes. Crime photography first began with the documentation of criminals in Belgium in the 1840s, and Denmark in the 1850s before being adopted by police and government forces around the world.The photographs from the 1800s did not have any technical regulations, and were mostly experimental, picturing prisoners in their cells, or seated solo. These photos were taken by amateur photographers – usually policemen or other prison officials. However, by the 1870s, many countries were also photographing criminals, and professional photographers began to be employed for the task. The photographs that came out of this period are the early examples of the mugshots we see used today.

# data[].attributes.headline
History of Crime Scene Photography Fay Watson(1928)

# data[].attributes.subject
History of Crime Scene Photography Fay Watson(1928)

# data[].attributes.attachment_caption
Crime scene photography can include photos of crime scenes, evidence, victims, and the criminals themselves. Crime scene photography is different from other types of photography because it is a systematic process; forensic photographers must capture very specific elements when they take photos. Since photos of crime scenes often will be used in a courtroom, they must clearly display certain elements and provide certain information useful in the prosecution of criminal activity.The precise documentation of a crime scene is very important for any successful investigation. Photographs taken at a crime scene must be as neutral, clear, and accurate as possible, as they will serve as references for those who have seen the scene, and for those who have not, such as the courts. 

# data[].attributes.headline
Crime Scene Photography: A Complicated History(1992)

# data[].attributes.subject
Crime Scene Photography: A Complicated History(1992)

# data[].attributes.attachment_caption
This is a digitized version of an article from The Times’s print archive, before the start of online publication in 1996. To preserve these articles as they originally appeared, The Times does not alter, edit or update them.Occasionally the digitization process introduces transcription errors or other problems; we are continuing to work to improve these archived versions.The scene comes out of the best tradition of American barnstorming politics, as practiced in the media age. Patrick J. Buchanan, the conservative television commentator and maverick candidate for the Republican Presidential nomination in the New Hampshire primary on Feb. 18, is in the middle of a daylong campaign blitz along the western edge of the state. By late morning the candidate has made his way to Butson's supermarket in Woodsville. Trailed by a ramshackle army of campaign aides and media people, microphone booms raised like halberds, he enters the store in search of votes.Halfway down the first aisle he accepts a slice of pizza from a young woman handing out samples. As he begins to munch, photographers and television crews jostle for position in front of him, TV lights blazing and photographic strobes flashing. After a moment, Mr. Buchanan heads down another aisle and buys a ticket for the New Hampshire lottery. Again, photographers and television crews cluster eagerly, as he holds up the ticket and half-eaten slice of pizza.

# data[].attributes.attachment_caption
The propaganda film is a film that involves some form of propaganda. Propaganda films spread and promote certain ideas that are usually religious, political, or cultural in nature. A propaganda film is made with the intent that the viewer will adopt the position promoted by the propagator and eventually take action towards making those ideas widely accepted.[1] Propaganda films are popular mediums of propaganda due to their ability to easily reach a large audience in a short amount of time. They are also able to come in a variety of film types such as documentary, non-fiction, and newsreel, making it even easier to provide subjective content that may be deliberately misleading.

# data[].attributes.attachment_caption
American soldiers from the 2nd Infantry Division stand beside a poster advertising the film My Reputation, starring Barbara Stanwyck. The film made in 1944 was shown to U.S. troops before its 1946 release. Over the last 70 years, Hollywood movies have functioned as the unofficial — but massively influential — propaganda arm of America's war efforts. (FPG/Hulton Archive/Getty Images) The U.S. military had some little-known help in spinning public perception about it over the last seventy years: Hollywood. This series shows how movies functioned as the unofficial — but massively influential — propaganda arm of America's war efforts. 

# data[].attributes.attachment_caption
David Carl Turnley is an American photographer, winner of the Pulitzer Prize, two World Press Photos of the Year, and the Robert Capa Award for Courage. His twin brother Peter Turnley is also a photographer.

# data[].attributes.attachment_caption
David Turnley’s photograph of a soldier grieving the loss of his best friend, made during the Persian Gulf War, is currently on exhibition at the Museum of Fine Arts, Houston in an unprecedented exhibition exploring the experience of war through the eyes of photographers. 

# data[].attributes.attachment_caption
Turnley won the 1990 Pulitzer Prize for photography for images of the political uprisings in China and Eastern Europe, the World Press Photo Picture of the Year in 1988 for a photo taken in Leninakan after the devastating Spitak earthquake and again in 1991 for a picture of a U.S. Sergeant mourning the death of a fellow soldier during the Gulf War, as well as the Overseas Press Club Robert Capa Gold Medal. He has been a runner-up for the Pulitzer Prize in photography four times.From 1985 to 1997, Turnley covered the struggle to end Apartheid, revolutions in Eastern Europe, the student uprising in China, the Bosnian War and the Gulf war, and the fall of the Soviet Union. In addition to publishing numerous books, he has directed an Emmy-nominated documentary for CNN on the Dalai Lama, and a feature-length documentary set in Cuban dance hall, La Tropical. He directed the documentary Shenandoah, released in 2012, about the 2008 murder and attempted cover up of an immigrant from Mexico by a group of local high school football stars from Shenandoah, Pennsylvania.

# data[].attributes.attachment_caption
Beginning in the early 1980s, advertisements on milk cartons in the United States were used to publicize cases of missing children. The printing of such ads continued until the late 1990s when other programs became more popular for serving the same purpose. Contemporary popular media portrayed the practice in fiction, often in a satirical manner.

# data[].attributes.attachment_caption
During the late 1970s and 1980s in the United States, missing child cases garnered a great deal of news media attention. Chief among these were the disappearance of Etan Patz (1979) and the kidnapping and murder of Adam Walsh (1981), whose story was told in the 1983 television movie, Adam. These reports developed into a type of moral panic called "stranger danger". In 1984, the National Center for Missing and Exploited Children was founded.[1]In September 1984, Anderson Erickson Dairy in Des Moines, Iowa began printing the photographs of two boys — Johnny Gosch (age 12, missing since September 5, 1982) and Eugene Martin (age 13, missing since August 12, 1984) — who went missing while delivering newspapers for the Des Moines Register. A similar milk-carton advertising program for missing children launched in Chicago, Illinois with support from the police and statewide in California with support from the government.

# data[].attributes.attachment_caption
McKinney’s daughter was kidnapped near her suburban Pittsburgh home and never found; Wallenda’s daughter was abducted and wound up in a homeless shelter in San Diego before being returned to Florida and her family.Both were featured on the postcards with the words “Have you seen me?” written underneath that are distributed by Advo, a marketing company that does mass-mailings for retailers. So have 1,000 other missing kids. One in six has been found safely – with links to the cards.There also is the broader effect that when Advo sends 85 million postcards around the nation each week, the company approaches local media and shines further attention, sometimes renewing the public’s interest and awareness in a case that, as time goes by, might lose its sense of urgency.

# data[].attributes.attachment_caption
Alfred Stieglitz (1864-1946) is credited with getting photography accepted as an art form — reason enough for him to be the first subject in this year's series of In-Sight Evenings at the Harvard Art Museums

# data[].attributes.headline
The Art Of Photography Alfred Steligtz(1946)

# data[].attributes.subject
The Art Of Photography Alfred Steligtz(1946)

# data[].attributes.attachment_caption
Photography can serve many purposes and have many facets. Photography can tell a story, it can capture a moment in time, it can document, and it can be art. There are many technical uses for photography as well as social and creative ones. How we use and interact with photography is highly personal and will differ from one person to the next.

# data[].attributes.attachment_caption
Victor Vasarely (French; born Győző Vásárhelyi, Hungarian; 9 April 1906[1] – 15 March 1997), was a Hungarian-French artist, who is widely accepted as a "grandfather" and leader of the Op art movement.  In 1927, he abandoned medicine to learn traditional academic painting at the private Podolini-Volkmann Academy. In 1928/1929, he enrolled at Sándor Bortnyik's private art school called Műhely (lit. "Workshop", in existence until 1938), then widely recognized as Budapest's centre of Bauhaus studies. Cash-strapped, the műhely could not offer all that the Bauhaus offered. Instead it concentrated on applied graphic art and typographical design.In 1929, he painted his Blue Study and Green Study. In 1930, he married his fellow student Claire Spinner (1908–1990). Together they had two sons, Andre and Jean-Pierre. Jean-Pierre was also an artist and used the professional name 'Yvaral'. In Budapest, he worked for a ball-bearings company in accounting and designing advertising posters. Vasarely became a graphic designer and a poster artist during the 1930s combining patterns and organic images with each other.

# data[].attributes.attachment_caption
Bridget Louise Riley CH CBE is an English painter known for her singular op art paintings. She lives and works in London, Cornwall and the Vaucluse in France. 

# data[].attributes.attachment_caption
In the summer of 1955, the murder of Emmett Till, a 14-year-old Black teenager who was tortured, shot and thrown in the Tallahatchie River after being accused of flirting with a white woman in Mississippi, brought awareness to the horrific treatment of Black people in America and reignited the civil rights movement.But for the general public at the time, it wasn’t the callous nature of Till’s murder that struck a chord. It was the funeral images, captured and shared with the world by photographers, of his mother looking over Till’s open casket, listlessly staring at her son’s face, which had been bludgeoned beyond recognition.

# data[].attributes.headline
 How We Remember History Black Panther Hold David Fentom (1970)

# data[].attributes.subject
 How We Remember History Black Panther Hold David Fentom (1970)