-creating high-speed photography techniques that he applied to scientific uses

-invented strobe light

-invented the gelatin silver dry glass plate negative in 1871

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-sharp-focused, objective images in 20th-century American photography.

-photographed street portraits to city scenes, machine forms, and plants with his distinctive clarity, precision, and geometric form.

-leading photographers in the history of American documentary photography

-Black and white photos from his cross country roadtrip

biggest/major contribution to photography: nude photographs to the men's magazine Le Sourire (The Smile).

biggest/major contribution to photography: photographs of architecture

biggest/major contribution to photography: series of black-and-white photographs, “Untitled Film Stills” (1977–80), which advanced the concept of narrative photography.

biggest/major contribution to photography: unrelenting direct photographs of people who are considered social deviates. She also portrayed “normal” people in a manner that exposed the cracks in their public masks.

biggest/major contribution to photography: Her first large-format camera

biggest/major contribution to photography: first female photojournalist to do so.

-a nanny and caregiver in the suburbs of Chicago while producing an expansive body of photographic work that became a media sensation in late 2010

-photographed the customs of the families she was with (birthdays and parties) and took pictures on the streets of a city immersed in a paradigm shift for the postwar opportunities

biggest/major contribution to photography: colorful, conceptual imagery bears the influence of both Surrealism and Pop Art.

biggest/major contribution to photography: His first book of photographs was published in 1949. More would soon follow. In 1950, Doisneau took what is perhaps his most famous image, The Kiss (Le baiser de l'hôtel de ville), on the streets of Paris. It was subsequently published in an episode of Life Magazine.

-best known for “Down in the Garden,” a 1996 coffee-table book featuring tiny babies adorably (or tweely, depending on your perspective) tucked into unlikely horticultural scenarios, as if they're hiding by chance in someone's flower bed

-the opportunity to design the costumes for the film production of My Fair

-he spent several years with Edward Weston

-first photographer to make negative space the subject of a photograph.

-Brett Weston may be said to be the first successful artistic heir in the history of photography. The son of Edward Weston

-also apart of Group f/64

-He photographed people in romantic poses, manipulated the negatives by extensive retouching, printed through texture screens, toned the photographs a glowing

-By 1936, Halsman was known as one of the best portrait photographers in France.

-produced 101 covers for Life magazine--more than any other photographer--without ever being a Life staff member.

-best known for her black-and-white photographs, featuring portraiture and landscapes in the southern United States.

-She is one of the pioneers of modern American photography, began her career as a photojournalist in 1915 in San Francisco.

-successfully combined a Pictorialist aesthetic with a realist strategy, producing handsomely composed and carefully printed images. She was one of few white American photographers in the 1930s to make artistic portraits of African Americans.

-an eclectic and innovative photographer and one of the few photographers to have shot three Pirelli calendars.

-Duffy's work is exhibited in museums and galleries worldwide.

-Duffy is considered one of the top 100 most influential photographers of all time.

-One of Maisel's most notable images is his photograph of Miles Davis that appears on the cover of Davis's album Kind of Blue (1959).

-built one of the largest photography book collections in the world and was the co-author of The Photobook: A History (in three volumes), which covers more than 1,000 photo books from the 19th century to modern day.

-He has held over 475 solo exhibitions in 40 countries and his photographs have been the subject of over 70 monographs.

-covering war zones and producing "Literary Portraits of China" for Shell Oil. Later, he celebrated global diversity with "Before they Pass Away" and "Homage to Humanity. " Through his lens, Nelson immortalized indigenous cultures, inspiring cultural preservation and appreciation worldwide.

-For more than four decades...documented conflicts and disasters across the globe, including the 9/11 terror attacks, the European refugee crisis and the genocide in Rwanda.

-her uncanny images and films that blur the line between artifice and reality to explore the human condition.

-Arizona based photographer and educator Betsy Schneider talks about her drive for intensity, beauty and complexity in her work.

-photographer Betsy Schneider embarked on a project to explore the experience of being thirteen.

-Von Unwerth has now shot for all of the of top fashion publications including Vogue, Vanity Fair, Interview, The Face, Arena, and i-D, and published dozens of books of personal work from exhibitions around the world. Her photographic career really took off when she landed a Guess campaign, featuring Claudia Schiffer.

-a director and photographer who started out working as a fashion model. She was born in Frankfurt, Germany, and began modeling at the age of 20.

-didn't invent street photography, but he transformed it from an art of observation to an art of participation.

-capture the energetic streets of New York City in the 1960s

-completely disrupted fashion photography by introducing eroticism and nudes with an unmistakable taste for transgression, which he conveyed through bold and, sometimes, stunning shots.

-provocative images of women in high heels and provocative poses for the book "White Women" (1976) garnered international attention and solidified his status as a groundbreaking fashion photographer.

-coverage of the Okavango Delta in National Geographic has been credited with inspiring a surge of international interest in wildlife and conservation in Botswana

It is an image of serene simplicity: Gandhi sitting on the floor of his room, reading, with his famous spinning wheel in the foreground.

Burt said he was thrilled to have the chance to see such a rare and historic print by such an important 20th-century photographer, estimating the retail value of the print at between $40,000 and $50,000.

It was Tuesday noon August 14, 1945 when Radio Tokyo broadcast a statement by Emperor Hirohito. The Second World War ended four years after the United States entered the war. President Harry S. Truman had just announced the end of the war. The day was called “Victory over Japan Day.” Times Square was crowded with people celebrating.

Today’s guests don’t actually dangle precariously above the ground like the ironworkers did in 1932. Instead, they’re safely strapped in—and the beam remains above the observation deck the entire time.

taken by Henri Cartier-Bresson

We see the perfection in the picture. How the reflection of the man is so precise about the position of the focal subject. We understand the uncertainty and the candidness of the scene by observing the details. The feet are about to touch the water, the whole reflection of the man is shown, a man is standing behind the fence, objects in the water amplify the horizontal depth of the surface and the man is just about to exit the frame. According to Cartier-Bresson, the background is every bit as important as the subject. It doesn’t provide a harmony, but rather, its melody — one that competes in a way that turns the result into something transcending. The photograph is a wholesome experience of not only seeing but also living the scene.

-the view from a window of his house in Le Gras. It was made by projecting the view through a camera obscura onto a small pewter plate coated with bitumen and developed with lavender oil. The exposure took several days [The sun can be seen hitting opposite sides of the buildings.] Niépce called it a heliograph.
Niépce eventually partnered with Louis Daguerre who was also working to fix images chemically, but Niépce died, his less inventive son stepped into the partnership

Widener, a photographer with the Associated Press, was focusing his camera on a line of tanks in Beijing’s Tiananmen Square when out of the blue came this man in a white shirt and dark trousers, carrying what appeared to be shopping bags.

Widener thought the man was going to mess up the composition of his frame.

It was June 5, 1989, a day after Chinese troops began violently cracking down on pro-democracy demonstrators who had been in the square for over a month.

From the hotel balcony, Widener watched as the man confronted the lead tank, standing directly in front of it. The tank stopped and tried to go around the man. The man moved with the tank, blocking its path once again.

At one point during the standoff, the man climbed aboard the lead tank and appeared to speak to whoever was inside.

The man was eventually pulled away by onlookers. To this day, we don’t know who he is and what happened to him. But he remains a powerful symbol of defiance.

things began to look ugly in central Vietnam. I took a much greater interest in the Buddhists of Vietnam than I had before, because it seemed to me they were likely to be movers and shakers in whatever turned up next.

Along about springtime (1963), the monks began to hint that they were going to pull off something spectacular by way of protest–and that would most likely be a disembowelment of one of the monks or an immolation. And either way, it was something we had to pay attention to.

At that point the monks were telephoning the foreign correspondents in Saigon to warn them that something big was going to happen.

I felt that they were certainly going to do something, that they were not just bluffing, so it came to be that I was really the only Western correspondent that covered the fatal day.

It took photographer Philippe Halsman and artist Salvador Dalí 28 tries to achieve the playful weightlessness of Dalí Atomicus.is a portrait of the artist inspired by his painting, Leda Atomica (1949), which appears in the composition’s right-hand corner—hanging suspended above the ground like the easel, chair, stepstool, cats, water, and Dalí himself.

when Che died in Bolivia seven years later it garnered global attention. It is believed to be the world’s most reproduced photograph and the second most reproduced image in the history of Western art behind da Vinci’s Mona Lisa.

Then in school I learned that he was Ernesto Guevara de la Serna, and that he’d been given pop culture immortality by a former fashion photographer named Alberto Díaz Gutiérrez, who’d later changed his name to Korda. Everything about the man and the myth was always a little off-kilter.

When I was a child in the late ’70s in Havana, during the never-ending blackouts, I was terrified by the shadows on his face.

printed on a huge poster my grandmother had scavenged from the streets of Havana following a military parade: It was heroic, seemingly immortal, and yet a decade had passed since he’d been killed in the jungles of Bolivia, a country I couldn’t have pointed to on a map.

In 1916 Strand made a series of candid street portraits with a handheld camera fitted with a false lens attached to its side, allowing him to point the camera in one direction while actually taking the photograph in another. This seminal image of a street peddler was published in 1917 in Alfred Stieglitz's magazine Camera Work. It immediately became an icon of the new American photography, which integrated the humanism of social documentation with the boldly simplified forms of modernism.

their repeating forms evoking the monotonous, mechanical nature of factory work. Hine’s images originally appeared in periodicals, posters, and booths at anti-child labor conventions. In 1914, 35 states ruled to prohibit the employment of children under the age of 14 and to require an 8-hour workday for individuals under 16. These photographs, therefore, represent one of the first instances of photography helping to enact social change.

The snub-nosed pistol is already recoiling in the man's outstretched arm as the prisoner's face contorts from the force of a bullet entering his skull.

To the left of the frame, a watching soldier seems to be grimacing in shock.

It's hard to not feel the same repulsion, and guilt, with the knowledge one is looking at the precise moment of death.

Ballistic experts say the picture - which became known as Saigon Execution - shows the microsecond the bullet entered the man's head.

Eddie Adams's photo of Brigadier General Nguyen Ngoc Loan shooting a Viet Cong prisoner is considered one of the most influential images of the Vietnam War.

At the time, the image was reprinted around the world and came to symbolise for many the brutality and anarchy of the war.

It also galvanised growing sentiment in America about the futility of the fight - that the war was unwinnable.

22 July, 1975

Boston, USA. Nineteen-year-old Diana Bryant and her two-year-old niece and goddaughter Tiare Jones are hurled off a collapsing fire escape during an apartment fire on Marlborough Street. The two waited with firefighter Robert O’Neil for a rescue ladder to reach them. As the firefighter climbed onto the rescue ladder, the fire escape collapsed under their feet and they fell to the ground five floors below. The woman was killed but the child survived, her fall cushioned by the woman's body.

In the 19th century, it seemed as though Muybridge had used photography to stop time. When the Industrial Revolution was underway, and scholars were obsessed with identifying, cataloging and potentially mechanizing nature, Muybridge’s photo sequence of a moving horse was a milestone.

“The breakthrough is that the camera can see things that the human eye can't see, and that we can use photography to access our world beyond what we know it to be,” says Shannon Perich, the Smithsonian’s curator of photography at the National Museum of American History

Clouds covered Nagasaki when Bocks Car arrived. Contrary to orders, weaponeer Ashworth determined to make the drop by radar if they had to due to their short fuel supply. At the last minute a small window in the clouds opened and bombardier Captain Kermit K. Beehan made the drop at 10:58 A.M. Nagasaki time.

A mushroom cloud towers over Nagasaki after the detonation of an atomic bomb in 1945. Albert Einstein struggled with his role in the creation of the bomb and the devastation wrought by the U.S. bombing of Hiroshima and Nagasaki during World War II.

come morning she would be starting high school, and under very dramatic conditions—Elizabeth Eckford, 15, spent the night of September 3, 1957, preparing for her first day of classes at Central High in Little Rock, Arkansas.

When she stepped toward the school doorway, however, two soldiers suddenly closed ranks, obstructing her path. Believing she had picked the wrong entry point, Elizabeth walked further down the line to another sidewalk. 

As she again tried to enter the school, Guardsmen crossed their rifles. Still supposing she simply had not found the right spot, she continued to a walkway near the school’s main entrance. Across Park Street from the National Guard line a mob of angry white protesters was milling. Finally, Elizabeth understood what the soldiers had been trying to convey. Again blocking her path, men with guns solemnly shunted her toward the mob. 

Her parents had taught her to look to adults for help, so she scanned the crowd for a visage that showed a trace of empathy, focusing on an older white woman. “It seemed like a kind face, but when I looked again, she spat on me,” Elizabeth recalled. “Safety, to me, meant getting to that bus stop.”

The Arkansas Democrat had assigned photographer Ira “Will” Counts, 26, to cover the desegregation of Central High. As he was documenting the chaos, Counts noticed directly behind Elizabeth a hysterical white girl spewing hateful language. He framed Elizabeth in the foreground, slightly blurred, with her snarling tormentor in focus

In the late nineteenth century, young “breaker boys” worked in anthacite coal mines in Pennsylvania removing impurities such as slate from the coal before it was shipped out.  The coal would be broken into smaller pieces in the coal breakers and the young workers, hunched over conveyor belts, would pick through it to remove contaminants.

In 1908, the National Child Labor Committee hired the photographer Lewis Hine to photograph children at work. Hine’s photos of the “breaker boys” and other child miners helped build public support for legislation barring child labor.

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.” 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.

This 1942 photograph was originally conceived as part of The Mural Project for the US Department of the Interior, a once-in-a-lifetime commission upon which Adams worked through one trip during the fall of 1941 and another in May and June of 1942. The project was initially planned to celebrate the US’s National Parks system in a suite of large-scale mural-sized prints, possibly as many as thirty-six, that would have lined the walls of the Department of the Interior building, separate from, but in concert with, the pre-existing painted WPA murals already installed. Adams thus had to consider his work both in relationship to the scale and color of the artwork in the building, the space of the building itself, and the teeming crowds of visitors to the building. Although no exact descriptions of how Adams would have composed this sequence have survived, it is clear that he was thinking in lofty terms. Each of his operatic views, of which the above photo is part, sings of wild grandeur on an epic scale.

Neil Leifer is an American sports photographer and filmmaker. He has shot covers for magazines such as Sports Illustrated, Time, and People. Leifer followed Ali from the beginning of his career to its end.

It was on the 25th of February 1964 in Miami when Cassius Clay beat the reigning heavyweight champion of the world, Sonny Liston. The match was surrounded by expectations since Clay started a psychological war against Liston, calling him “the big ugly bear.” Clay beat Liston in seven rounds after Liston threw in the towel, as he had injured his shoulder and could not continue the fight.

The day after the fight, he announced he was a member of the Nation of Islam or Black Muslims and he converted to Islam. He picked (or was given) the name Muhammad Ali. The media, however, ignored this fact, and the match was advertised as the “Clay-Liston” fight. The rematch took place on May 25, 1965.

After 1 minute and 44 seconds, what many called a phantom punch, Liston’s body hit the ground. It was a knock out.

Drew, an AP photographer, had been shooting a maternity fashion show for New York Fashion Week in Bryant Park, in the city's mid-town area, when he received a tip from a CNN cameraman that a plane had just crashed into the north tower of the Twin Towers.

Of the scenes that began to unfold, many survivors still say the bodies falling from the sky were one of their most haunting memories.

They were either "forced out by the smoke and flames or blown out", Ellen Borakove, the New York City medical examiner's office spokeswoman, told USA Today.

Captured at 9.41am the man, falling from the north tower of the World Trade Centre, is believed to have been trapped on one of the upper levels.

Controversy initially surrounded the picture, which was thought at the time to be the most controversial of all to come out of 9/11 at the time, and it disappeared until it resurfaced in an Esquire article in 2003.

Critics said it was one of the only images to show someone dying and it was labelled "exploitative".

The image of George Harrison, Paul McCartney, Ringo Starr and John Lennon striding across the road outside EMI studios in St John's Wood became the cover shot of their Abbey Road album and probably the most iconic photo of the Fab Four.

It was taken by the late Scottish photographer Iain Macmillan who stood on a ladder in the middle of the street while a policeman blocked the traffic.

The whole thing was done in roughly 10 minutes.

relations between the band members were strained at the time and it was just weeks before they split up entirely.

He said: "They were professionally and personally exhausted".

Mr McNab said it was one of the most iconic photos in rock history.

The zebra crossing outside the famous Abbey Road studio has become a massively popular spot for tourists to recreate the album cover.

Leibovitz eventually decided on a simple yet provocative black and white portrait, with Lennon curled up naked next to a fully clothed Ono. This striking composition highlighted the couple's unique bond and the vulnerability of their relationship. The photograph was taken on December 8, 1980 – the very day Lennon was tragically assassinated.

Tragically, just hours after the shoot, Lennon was assassinated outside of his New York City apartment building. The photo, which was initially intended to be a lighthearted representation of the couple's relationship, suddenly took on a much deeper meaning.

The photograph of Lennon and Ono has become one of the most iconic images in the history of music and photography. It remains a testament to the powerful love between the couple and serves as a poignant reminder of Lennon's untimely death. The image is also a prime example of Leibovitz's remarkable ability to capture the essence of her subjects and tell a story through her photography.

Upon his return home in the late 1940s after eight years abroad in the army, Klein found his native New York City familiar but strange. Commissioned by Vogue to create a photographic book about the city, Klein recorded its vibrancy and grittiness, producing an uncompromising portrait that the magazine ultimately rejected. He subsequently took his photographs to Paris and published them under the title Life is Good & Good for You in New York. For this photograph, Klein asked two boys on Upper Broadway to pose. One pointed a gun at the camera, his face erupting with rage, mimicking the stereotypical poses of criminals in our image-saturated society.

Bucking popular opinion, William Eggleston embraced color photography at a time when it was widely dismissed as too commercial. His subject matter matched his medium: the mundane details of daily life considered unworthy of art photography. Nonetheless, he captured the spirit of his native South with a bold command of color that paved the way for color photography’s acceptance. Eggleston was particularly devoted to the dye transfer process for its clear and vivid rendering of color and its permanence relative to the more fugitive chromogenic prints typically used for color photography. Of this picture Eggleston said, “When you look at the dye [transfer print] it is like red blood that’s wet on the wall. . . . A little red is usually enough, but to work with an entire red surface was a challenge.”

Born on a sheep ranch in Wyoming, Dr. Ceriani attended Chicago’s Loyola School of Medicine but opted not to pursue a medical career in the big city. In 1946, after a stint in the Navy, he was recruited by the hospital in Kremmling, and he and wife Bernetha, who was born in Colorado, settled into the rural town. Dr. Ceriani was the sole physician for an area of about 400 square miles, inhabited by some 2,000 people.

Eugene Smith’s at-times almost unsettlingly intimate pictures illustrate in poignant detail the challenges faced by a modest, tireless rural physician—and gradually reveal the inner workings and the outer trappings of what is clearly a uniquely rewarding life.

Supposedly Karsh took the cigar that Churchill was smoking at the time out of his mouth right before taking this picture.

Nearly 50 years ago during a protest against Boston’s plan to desegregate its public schools, newspaper photographer Stanley Forman snapped a picture that came to symbolize the country’s racial division. The image depicting a white protester using an American flag to attack a Black man taken on April 5, 1976, ran in newspapers nationwide and later won a Pulitzer Prize.

The look of terror and confusion blankets a young boy's face as he raises his arms in surrender to a German soldier pointing a gun at him.

The image, captured in a photograph during World War II, has been seared into the minds and souls of millions since it was seen. But the identity of the little boy — his thin, fragile legs visible beneath a long coat — remains unknown.

It was just after 4 a.m. when an attack that would shock the world began — quietly.

Eight men in tracksuits hopped the fence at Munich's Olympic Village, carrying with them Kalashnikov rifles and grenades in duffel bags.

They were members of the group Black September — an affiliate of the Palestine Liberation Organization. Their mission was to hold Israeli athletes hostage and demand the release of 236 prisoners: 234 in Israel and the two leaders of the West German Baader-Meinhof terrorist group.

Their mission failed. About 20 hours after it began, five of the hostage-takers would be dead, along with 11 members of Israel's Olympic team and a West German policeman.

But the Munich massacre of Sept. 5 to 6, 1972, would have lasting repercussions on an international scale, waking up Western governments to the threat of terrorism, showing the power of live broadcast and setting the stage for future violence.

“American Gothic” — a reference to the famous Grant Wood painting — is a construction that afforded rare attention to a black female subject who was not a celebrity or entertainer, but a mother and a worker. In this photograph, Parks formed an image of Mrs. Watson at work, her loosely fitted work dress pinned closed, allowing the viewer to link the necessity of her role as a family provider with the harshness of her existence. The American flag that hangs behind her frames her with the tools of her labor.

Invasion by Warsaw Pact troops in front of the Radio headquarters. Prague, Czechoslovakia. August, 1968.

The events leading up to the 1968 Warsaw Pact invasion of Czechoslovakia were, for many observers looking back, inevitable. After two decades of oppressive Communist rule under the auspices of the Soviet regime, the country was ready for radical change. When Alexander Dubček was elected as First Secretary of the Communist Party of Czechoslovakia the politician seized the opportunity for democratic reform. A period of ‘liberalization’ known as the Prague Spring was enacted, allowing an expansion of citizen civil rights and liberties, partial democratization, and decentralization of the economy. Restrictions on press freedom, travel and free-speech were also loosened. All much to the vexation of the USSR, who, in between failed negotiations with Dubček, watched closely.

On August 21, 1968, forces from five of the countries grouped in the Warsaw Pact invaded. Tanks flooded Prague’s streets as residents buffered the sidewalks and buildings, protecting the Czechoslovak Radio Centre and destroying street-signs to misdirect the Eastern Bloc invaders. During the political turbulence, Josef Koudelka was moved to document his country during the upheaval.

taken by Henri Cartier-Bresson

We see the perfection in the picture. How the reflection of the man is so precise about the position of the focal subject. We understand the uncertainty and the candidness of the scene by observing the details. The feet are about to touch the water, the whole reflection of the man is shown, a man is standing behind the fence, objects in the water amplify the horizontal depth of the surface and the man is just about to exit the frame. According to Cartier-Bresson, the background is every bit as important as the subject. It doesn’t provide a harmony, but rather, its melody — one that competes in a way that turns the result into something transcending. The photograph is a wholesome experience of not only seeing but also living the scene.