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TIME 100 Photographs: The Most Influential Images of All Time

TIME 100 Photographs: The Most Influential Images of All Time

TIME 100 Photographs: The Most Influential Images of All Time

Though modern technology now allows everyone with a phone to be a photographer, and hundreds of billions of new images are made and shared each year, still rare are images that possess an art, capture a moment, or deliver meaning that shapes or changes the way people think, that themselves become turning points of human experience. Now, after a thorough process that included thousands of interviews, the editors at TIME present the new special edition 100 Photographs: The Most Influential Images of All Time. Turning slowly through this profound collection, you’ll find yourself riveted and deeply moved. After an examination of exactly what makes a photograph influential, you’ll encounter icons like Dorothea Lange’s Migrant Mother, Alfred Eisenstaedt’s V-J Day in Times Square, and Neil Leifer’s Muhammad Ali vs. Sonny Liston. Then, Evidence explores the importance of the camera as witness. Revisit Robert Capa’s D-Day landing on Omaha Beach, Abraham Zapruder’s JFK Assassination, Frame 313, the still-mysterious Tank Man phot by Jeff Widener, and many more. Last, consider the Innovations of Eadweard Muybridge’s The Hose in Motion, astronaut William Anders’ Earthrise, and Philippe Kahn’s First Cell-Phone Picture, to name only a few. Beyond the photos themselves, learn the stories behind the images, some uncovered and offered here for the first time. Whether you look to photographs to serve as art, journalism, or simply a selfie to share, 100 Photographs is an undeniably profound collection of historic images and a reminder of the potential importance of every camera’s click.

País:
United States
Língua:
English
Editora:
Meredith Corporation
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5 minutos
defining influence

We began this project with what seemed like a straightforward idea: assemble a list of the 100 most influential photographs ever taken If a picture led to something important, it would be considered for inclusion From that simple concept flowed countless decisions Though photography is a much younger medium than painting—the first photo is widely considered to date from 1826—the astonishing technological advances since then mean that there are now far more pictures taken every day than there are canvases in all the world’s galleries and museums Hundreds of billions of images are made each year How do you narrow a pool that large? You start by calling in the experts We reached out to curators, historians and photo editors around the world for suggestions Their thoughtful nominations whittled the field,…

1 minutos
lunch atop a skyscraper

IT’S THE MOST perilous yet playful lunch break ever captured: 11 men casually eating, chatting and sneaking a smoke as if they weren’t 840 feet above Manhattan with nothing but a thin beam keeping them aloft. That comfort is real; the men are among the construction workers who helped build Rockefeller Center. But the picture, taken on the 69th floor of the flagship RCA Building (now the Comcast Building, better known as 30 Rock), was staged as part of a promotional campaign for the massive skyscraper complex. While the photographer and the identities of most of the subjects remain a mystery—the photographers Charles C. Ebbets, Thomas Kelley and William Leftwich were all present that day, and it’s not known which one took it—there isn’t an ironworker in New York City…

1 minutos
couple in raccoon coats

TO MANY WHITE Americans in the 1930s, black people were little more than domestics or sharecroppers. They were ignored, invisible, forgotten. But that was not what James VanDerZee saw when he gazed through his camera lens. Seeking to counter the degrading and widely disseminated caricatures of African Americans in popular culture, VanDerZee not only photographed Harlem weddings, funerals, clubs and families but also chronicled the likes of black nationalist Marcus Garvey, dancer Bill “Bojangles” Robinson and the poet Countee Cullen—the leaders, artists, writers, movers and strivers of the Harlem Renaissance. In his Guarantee Photo Studio and along the neighborhood’s streets, VanDerZee crafted portraits that were meticulously staged to celebrate the images his subjects wanted to project. And nowhere is this pride more evident than in his glowing picture of a…

1 minutos
migrant mother

THE PICTURE THAT did more than any other to humanize the cost of the Great Depression almost didn’t happen. Driving past the crude “Pea-Pickers Camp” sign in Nipomo, north of Los Angeles, Dorothea Lange kept going for 20 miles. But something nagged at the photographer from the government’s Resettlement Administration, and she finally turned around. At the camp, the Hoboken, N.J.–born Lange spotted Frances Owens Thompson and knew she was in the right place. “I saw and approached the hungry and desperate mother in the sparse lean-to tent, as if drawn by a magnet,” Lange later wrote. The farm’s crop had frozen, and there was no work for the homeless pickers, so the 32-year-old Thompson sold the tires from her car to buy food, which was supplemented with birds killed…

1 minutos
fort peck dam

IT WAS TO quickly become the most influential news and photography magazine of its time, and LIFE’s November 1936 debut issue proudly announced that it would cover stories of enormous scope and complexity in a uniquely visual way. What better person, thought publisher Henry Luce, than his FORTUNE magazine photographer Margaret Bourke-White to shoot life’s premier story, on the construction of Montana’s Fort Peck Dam? There, on the cover with the castle-like structure and a photo essay inside, Bourke-White used pictures to give a human feel to an article on the world’s largest earth-filled dam. She did this by focusing not only on the technical challenges of the massive New Deal project in the Missouri River Basin but also on the Wild West vibe in “the whole ramshackle town,” a…

1 minutos
american gothic

AS THE 15TH child of black Kansas sharecroppers, Gordon Parks knew poverty. But he didn’t experience virulent racism until he arrived in Washington in 1942 for a fellowship at the Farm Security Administration (FSA). Parks, who would go on to become the first African-American photographer at life, was stunned. “White restaurants made me enter through the back door. White theaters wouldn’t even let me in the door,” he recalled. Refusing to be cowed, Parks searched out older African Americans to document how they dealt with such daily indignities and came across Ella Watson, who worked in the FSA’s building. She told him of her life of struggle, of a father murdered by a lynch mob, of a husband shot to death. He photographed Watson as she went about her day,…