100 most influential historical images of all time

 Time magazine decided to make a list of the 100 most influential photos taken so far. He worked closely with curators, historians, photo editors and renowned photographers from around the world for this task. The editors stated, "No formula is for iconic photographs." “Some pictures are on our list because they were the first of their kind, others because they shaped our way of thinking. And some cut off because they directly changed the way we live. All share 100 well-known photographs that they are bringing a turning point in our human experience. "
The result they ended up with is not only a collection of spectacularly rare and interesting historical photographs, but also incredible human experiences. "The best photography is a form of bearing witness, a way of bringing a vision to the larger world." However, these famous photos are not just the TIME 100 - the first magazine has released the top 100 novels, movies, influential people and other notable lists. Scroll down to check out the photo gallery of the most famous pictures of our age.

1. War of Terror, 1972

Collateral damage and favorable fire faces are not commonly seen. Not so with 9-year-old Phan Thi Kim Phuke. On June 8, 1972, Associated Press photographer Nick Ut was outside the Trang Bang, about 25 miles northwest of Saigon, when the South Vietnamese Air Force accidentally dropped a load of napalm on the village. As the Vietnamese photographer took photographs of the massacre, he saw a group of children and soldiers running towards the highway with a screaming naked girl. UT thought, why doesn't he have clothes? She then realized that she had hit Napal.

"I took a lot of water and poured it on her body. She was screaming, too hot! very hot! "Yut takes Kim Fuk to a hospital, where she learns she can't save third-degree survivors covering 30 percent of her body." So with the help of colleagues, he transferred her to an American facility for treatment which saved her life. Ut's raw effect of the war underlined the photo that the war was doing more harm than good. It led the newsroom to run a photo with Nudity, debating its policies, advancing several publications, including the New York Times. The picture quickly became a cultural shorthand for the atrocities of the Vietnam War and became involved in Malcolm Brown's Burning Monk and Eddie Adams' Saigon execution as defining images of that brutal conflict. When President Richard Nixon wondered if the photo was bogus, Ut commented, "The horrors of the Vietnam War I recorded were not fixed." In 1973 the Pulitzer committee agreed and conferred the award on them. The same year, America's involvement in the war ended.

2. The Burning Monk, 1963

Full story on this article. In June 1963, most Americans could not locate Vietnam on a map. But Associated Press photographer Malcolm Brown did not forget that war-torn Southeast Asian nation after capturing the image of Thich Kwong Duke seducing himself on a Saigon street. Brown was given a head that something was going to happen against the treatment of Buddhists during the reign of President Ngo Dinh Diem. Once they saw two monks sipping an elderly man sitting with gasoline. "I realized at that moment what was really happening, and started taking pictures just seconds later," he wrote shortly thereafter.

Her Pulitzer Prize-looking Serat monk in a lotus style winning photo as she is engulfed in flames became an iconic image emerging from a swamp that would soon pull into America. Quang Duke's act of martyrdom became a sign of his country's instability, and President Kennedy later remarked, "No news picture in history has caused as much emotion around the world as one." Brown's picture forced people to question America's relationship with Diem's ​​government, and no sooner had the administration's decision interfered with the coup that was due in November.

3. The Hungry Child and the Vulture, 1993

Full story on this article. Kevin Carter knew the stink of death. As a member of the Bang-Bang Club, a quartet of brave photographers undergoing apartheid in South Africa, he had seen more than part of his heartbreak. In 1993, he flew from Sudan to take pictures of famine on that land. After a day of taking pictures in the village of Ayodh, he went out into the open bush. There he heard whispers and came across a frantic child, who had fallen on the way to a feeding center. A vulture landed nearby as soon as he took a picture of the baby.

Carter was reportedly advised not to touch the victims due to illness, so instead of helping, he spent 20 minutes waiting in the hope that the chasing bird would unleash its wings. It was not. Carter scares the creature away and sees the child continue towards the center. He then lit a cigarette, talked to God and started crying. The New York Times ran the picture, and readers were eager to find out what had happened to the child - and to criticize Carter for not coming to the aid of his subject. His image quickly became a sinister case study in the debate over when photographers should intervene. Subsequent research showed that the child survived malaria fever even after 14 years. Carter won the Pulitzer for his image, but the darkness of that bright day never arose from him. In July 1994, he took his own life, writing, "I have vivid memories of murders, corpses, anger and pain."

4. Lunch A Skyscraper, 1932

This is the most dangerous fickle lunch break ever: 11 people eat, chat and smoke casually, as if they are nothing 840 feet above Manhattan, but a thin beam that tops them . That comfort is real; The men are among the construction workers who helped build the Rockefeller Center. But the photo, taken on the 69th floor of the flagship RCA building (now the GE Building), was staged as part of a massive skyscraper campaign. While the identity of the photographer and most of the subjects remains a mystery - photographer Charles C. Ebbets, Thomas Kelly and William Leftwich were all present that day, and it is not known who took it - New does not have an ironwork York City that does not see the portrait as a badge of its bold tribe. In this way they are not alone.

Thumping his nose at both danger and depression, Lunch Atop is a skyscraper symbolizing American resilience and ambition when both were in dire need. It has since become an iconic symbol of the city in which it was taken, confirming the romantic belief that New York is a place unknown to deal with projects that will graze fewer cities. And like all symbols in the city built on the hustle, Lunch atop a skyscraper has given rise to its economy. This is the most reproduced image of Corbis Photo Agency. And good luck walking through Times Square with no mugs, magnets, or T-shirts on it.

5. Tank Man, 1989

On the morning of June 5, 1989, photographer Jeff Widener was seated on the sixth-floor balcony of the Beijing Hotel. The day after the Tianmen Square massacre, when Chinese troops attacked pro-democracy protesters, who were camping on the plaza, and the Associated Press sent Winterner later to deliver the documents. As they photographed the bloodied victims, passers-by on bicycles and the occasional scorched bus, a column of tanks rolled out of the plaza.

Widner put his lens on it as the man carrying the shopping bag stepped in front of the war machines, waving his arms and refusing to move. The tanks tried to go around the man, but he went back in his way, and mounted one. Weidner assumed the man would be killed, but the tanks caught fire. Eventually the man was killed, but not before Weidner immortalized his eccentric act of resistance. Others also captured the scene, but Widener's image was broadcast on AP's wire and appeared on front pages around the world. Tanks Man's subsequent decision to become a global hero, he remains unknown. Anonymity makes the picture more universal, a symbol of resistance to unjust regimes everywhere.

6. Falling Man, 2001

The most viewed images from 9/11 are of planes and towers, not of people. The falling man is different. Photographs by Richard Drew in the moments following September 11, 2001, the attack, the isolated escape of a man from buildings collapsing, symbolize individuality against the backdrop of faceless skyscrapers. On the day of the mass tragedy, the Falling Man is one of the only widely seen photographs showing someone dying. The picture was published in newspapers around the US in the days following the attacks, but readers' response turned it into temporary pornography. This can be a difficult image to process, the man completely cuts off the iconic towers as he darts towards the earth like an arrow. The identity of the Falling Man is still unknown, but he is believed to have been an employee on the Windows in the World restaurant, which sat atop the North Tower. The true power of Falling Man, however, is less about its subject as to who he was and more about what he became: an unknown soldier in a seemingly unknown and precarious war, forever suspended in history.

7. Alan Kurdi, 2015

The war in Syria had been going on for over four years when Alan Kurdi's parents lifted the 3-year-old boy and his 5-year-old brother in an inflatable boat and drove off the Turkish coast to the Greek island of Kos . , Just three miles away. Within minutes of pushing, a wave enveloped the vessel, and mother and both sons drowned. On the coast of the coastal city of Bodrum, a few hours later, Niluphar of the Dogan News Agency came upon Demir Allen, his face turned to one side and heaved downward as if he were just sleeping. "There was nothing left for him to do. There was nothing left to bring him back to life, ”she said. So Demir picked up his camera. "I thought, this is the only way I can express the scream of her silent body." The resulting image became the defining picture of an ongoing war, with around 220,000 dead by the time Demir pressed its shutter. It was not taken in Syria, a country the world preferred to ignore, but at the doorstep of Europe, where its refugees were growing. Ready for the journey, the child was in the midst of one world and another: the waves washed away any chalky brown dust that could find him in a place foreign to the experience of Westerners. It was an experience that the Kurds sought for themselves, as much as an aspiration in desperation, joining a sojourn.

The family had already survived the bloodshed by making it to Turkey's land border; The voyage was in search of a better life, which would now become - for a few months at least - far more accessible to the hundreds of thousands who traveled behind them. Demir's image circulated within hours on social media, accumulating potency with each share. News organizations were forced to publish it - or not to publicly defend their decision. And European governments were suddenly forced to open closed borders. Within a week, trainloads of Syrians were arriving in Germany as a battle to cheer, but were not suddenly felt with emotions unlocked by a small, still-form picture.

8. Earthrise, 1968

It is never easy to recognize that moment in history. When it comes to humanity's first true understanding of the beauty, fragility and loneliness of our world, however, we know the exact instant. On December 24, 1968, after Apollo 8 at 75 hours, 48 ​​minutes and 41 seconds, the spacecraft became the first manned mission to orbit the moon, diverting from the Cape Canaveral En route. Astronauts Frank Bormann, Jim Lovell and Bill Enders entered lunar orbit on Christmas Eve, a bloody, war-torn year for America. At the beginning of the fourth of 10 orbits, their spacecraft was emerging from the far side of the moon when a view of the blue-white planet was filled with one of the hatch windows.

"Oh my God! Look at that picture over there! Earth is coming here wow, it's so beautiful!" Anders said. He took a picture - in black and white. Lovell scrambles to find a color canister. "Well, I think we missed it," Anders said. Lovell looked through windows three and four. "Hey, I got it here!" They said. A weightless Anders shot where Lovell was swimming and fired his hustle. "you got this?" Lovell asked. "Yes," Anders replied. The image - the first full-color view of our planet by its closure - helped launch the environmental movement. And, just as important, it helped humans recognize that in a cold and puny universe, we loved it.

9. Mushroom Cloud over Nagasaki, 1945

Three days after the atomic bomb was called, Little Boy destroyed Japan's Hiroshima, with American forces dubbing Fat Man over Nagasaki and dropping an even more powerful weapon. The blast hit a 45,000-foot-high column of radioactive dust and debris. "We saw this large plume ascending into the sky above," recalled Lt. Charles Levy, the bombardier, with a 20-kiloton weapon. "It was purple, red, white, all the colors - something like boiling coffee. It looked alive."

The officer then shot 16 photographs of the terrible power of the new weapon as it killed the lives of about 80,000 people in the city on the Urakami River. Six days later, two bombs compelled Emperor Hirohito to announce his unconditional surrender to Japan in World War II. Authorities censored photos of the bomb's devastation, but Levi's image - the only one to show the full scale of the mushroom cloud from the air - was widely circulated. The impact shaped American opinion in favor of the atomic bomb, allowing the nation to celebrate and prove the nuclear era, yet, this history is written by the victors
10. V-J Day in Times Square, 1945


Full story on this article. At its best, photography captures fleeting snippets that illuminate hope, anguish, wonder, and the joy of life. Alfred Eisenstadt is one of the first four photographers hired by LIFE magazine, making it his mission to "find and capture the moment of the story". When World War II ended on August 14, 1945, he did not have to go very far for it. Taking the mood in the streets of New York City, Eisenstaedt soon found himself in the delightful tumor of Times Square.

As he searches for subjects, a sailor in front of him grabs a nurse, tilts him back and kisses him. Eisenstadt's picture of that sentimental man shook and fulfilled that moment's relief and promise of a moment of happiness (which some argue today should be seen as a sexual assault case) of his beautiful The image has become the most famous and often reproduced photograph of the 20th century, and forms the basis of our collective memory of that transformational moment in world history. "People tell me when I'm in heaven," Eisenstadt said, "they'll remember this picture."

11. Pillar of Construction, 1995

The Hubble Space Telescope almost didn't make it. In 1990, it was over-budget, aboard the spacecraft Atlantis, years ahead of schedule and, when it finally reached Orbit, its 8-foot mirror was distorted due to a construction defect. It would not be until 1993 that a repair mission would bring Hubble online. Finally, on April 1, 1995, the telescope distributed the goods, capturing an image of the universe so clear and deep that it became known as the Pillars of Creation.

The photo taken by Hubble is the Eagle Nebula, a patch of constellations 6,500 light-years from Earth, in the constellation Serpens Kada. The great smoker is a giant cloud of interstate dust, shaped by high-energy winds emanating from nearby stars (the black part in the top right is from the magnification of one of Hubble's four cameras). But the science of columns has been less important in their importance. Both the asymmetry and vastness of the formation - the pillars are 5 light-years, or 30 trillion miles, long, thrilled and humbled in equal measure. An image never achieved a thousand astronomy seminars.

12. Fire Escape Fall, 1975

Full story on this article. Stanley Forman was working for the Boston Herald American on July 22, 1975, when he received a call about a fire on Marlborough Street. He saw a woman and child to escape the fifth floor fire. A fireman was set to help them, and Forman felt he was shooting another regular rescue. "Suddenly the fire gave way to escape," he said, and 19-year-old Diana Bryant and 2-year-old granddaughter Tiare Jones were floating in the air. "I was shooting pictures when they were falling — then I walked away. It was up to me what was going on, and I don't want to see them hitting the ground. I still remember walking and moving. I can. ”Bryant died after falling, his body causing shock to his granddaughter, who survived.

While the incident was no different from the regular tragedies that filled the local news, Forman's picture was. Using a motor-drive camera, Forman was able to freeze the horrific tumbling moment on young Tierre's face. The photo received the Pulitzer Prize and inspired municipalities across the country to enact a tougher fire-safety code. But its lasting legacy is as ethical as cosmic. Many readers objected to the publication of Forman's photograph, and this is a case study in the debate over when disturbing photos are worth sharing.

13. A Man on the Moon, 1969


In the Sea of ​​Transequality, the little depression in which Buzz Aldrin stood on the evening of July 20, 1969, is still one of billions of pits and craters and pockmarks on the ancient surface of the Moon. But this may not be the most indelible mark of astronauts. Aldrin never cared to be the second man on the moon - to come so far and remember the first-man designation Neil Armstrong earned by a mere matter of inches and minutes. But Aldrin earned a different kind of immortality. Since it was Armstrong who was carrying the crew's 70-millimeter Hasselblad, he took all the photos — meaning that only the moon man would clearly see the piece of earth that took the second step.

The image ended in a way unlikely. It does not contain the action of Aldrin's shots, which climb the ladder of the lunar module, echoing none of the patriots saluting the American flag. He just stood away, a small fragile man from a distant world, a world that would be happy to kill him if he removed so much of the same article of his overly complex clothing. His arm is awkwardly bent - perhaps, he guessed, as he looked at the checklist on his wrist. And Armstrong, looking even younger and more spectral, is reflected in his scene. It is a picture that if in some ways striving for heroism it was all wrong. As a result, it did everything right.

14. Albino Boy, Biafra, 1969


Some remember that the West African nation of Biafra, which was separated from Southern Nigeria in 1967, was withdrawn less than three years later. Most people in the world learned about the enormity of that brief struggle through images of mass starvation and disease, which could possibly have killed millions. No one proved as powerful as the picture of the 9-year-old albino child of British War photographer Don McCullin. "To be a hungry Biafran orphan was to be in the most pathetic state, but to be a hungry albino Biafran was to be in a state beyond description," McCullin wrote.

"Dying of starvation, she was still the object of enmity, ridicule, and humiliation among her comrades." The picture deeply affected public opinion, pressuring governments to take action, and led to a massive airlift of food, medicine and weapons. McCullin hoped that such stark pictures would be able to "break the hearts and souls of safe people". Public attention eventually shifted, with Macullin's work leaving a lasting legacy: He and other witnesses of the conflict inspired the launch of Doctors Without Borders, which provides emergency medical assistance to those suffering from war, pandemics and disasters .

15. Jewish boy surrenders in Warsaw, 1943

At the center of this image was the young boy with his hands gagged, one of nearly half a million Jews, packed into a Warsaw ghetto, a neighborhood that was transformed into a wall of starvation and death by the Nazis. Started in July 1942, German businessmen began sending some 5,000 Warsaw residents to concentration camps in one day. After news of the boycott returned, the people of the ghetto formed a resistance group. "We saw ourselves as a Jewish underground whose fate was a tragic one," wrote Mordecai Anilevic, its young leader. "Our hours came without any sign of hope or rescue." The hour arrived on April 19, 1943, when the Nazi army arrived to take the rest of the Jews. Largely armed parties fought, but were eventually subdued by German tanks and flamethrowers. When the rebellion ended on 16 May, 56,000 survivors faced summary execution or deportation in concentration and slave-labor camps.

SS Major General Jürgen Stroop was so proud of his work to clean up the ghetto that he created the Strope Report, a leather triumph album with a laundry list of arrogant loot in 75 pages, reports of daily murders And dozens of heartbreaking photographs. Lifting your hands up like that boy. The collection proved his condemnation, in addition to giving a face to those who died, the pictures reveal the power of photography as a documentary tool. In the subsequent Nuremberg war-crimes trials, the volume became major evidence against Stroop and resulted in his execution near the Ghetto in 1951. The Holocaust produced a score for drawing pictures. But no one had a clear impression of the boy's surrender. The child, whose identity has never been confirmed, has come to represent the face of the 6 million defenseless Jews killed by the Nazis.

16. Bloody Saturday, 1937

Full story on this article. The same imperialist desires that had occurred in Europe in the 1930s had already permeated Asia. Yet many Americans were wary of being caught in conflict in far-flung, foreign lands. But in the summer of 1937, this opinion started rolling towards Shanghai from the rising Rising Sun of the Japanese army. Fighting began there in August and unrelated shelling and bombing led to widespread panic and death on the streets. But the rest of the world did not show the victims a face until they saw the attack on 28 August following the Japanese attackers. When H.S. Wong, a photographer for the Hurt Metroton News nickname Newsreel, arrived at the destroyed South Station, reminding him of the massacre so fresh that "my shoes were soaked in blood."

Amidst the devastation, Wong saw a Chinese child, whose mother lay dead on nearby tracks. He said he quickly shot the rest of his film and then ran to take the child to safety, but did not insist before the boy's father ran and walked away. Wong's image of an injured, helpless baby was sent to New York and featured in the Heartiest Newsreels, newspapers and Life magazine - a picture that could be had to the widest audience. Watched by over 136 million people, it struck a personal melody that transcended ethnicity and geography. For many, the infant's pain represented China's plight and Japan's bloodshed, and the photos dubbed on Saturday were transformed into the most powerful news pictures of all time. Its spread reveals the powerful force of an image for official and public opinion. Wong's photograph inspired the US, Britain and France to formally oppose the attack and helped shift Western sentiment in favor of turning it into the world's second Great War.

17. Overseas Mother, 1936

Full story on this article. The picture of doing more than any other person to reduce the cost of the Great Depression almost never happened. Dorothia Lang continued for 20 miles, crossing the crude "pea-picker camp" sign at Nipomo, north of Los Angeles. But something happened to the photographer of the government's rehabilitation administration and eventually he turned around. At the camp, Hoboken, N.J.-born Lang saw Frances Owens Thompson and knew he was in the right place. "Lang later wrote," I looked up and came to the hungry and desperate mother in a slim tent.

The farm was frozen, and there was no work for the homeless pickers, so Thompson, 32, sold tires from his car to buy food, supplemented by birds killed by children. Lang, who believed that through close study one could understand the others, tightly implicated the children and mother, whose eyes were surrounded by anxiety and resignation, looking at the camera. Lang took six photographs with his 4 × 5 Graphlex camera, later writing, "I knew I had recorded the essence of my assignment." Lang later informed the authorities of the plight of the encroachers and sent 20,000 pounds of food. Of the 160,000 images taken by Lazette and other photographers for rehabilitation administration, Migrant has become the most iconic picture of the Mother Depression. Through an intimate portrait of Toll being accurate across the country, Lang gave a face to a battered nation.

18. Hindenburg disaster, 1937

Full story on this article. The Zeppelins were majestic skyliners, magnificent behemoths who symbolized wealth and power. The arrival of these ships was news, which is why the 804-foot-long LZ 129 was waiting for Hindenburg in the rain on May 6, 1937 at Naval Air Station, Nehru, Lake North Air Station. Drift from Frankfurt. Suddenly, as the assembled media noticed, the flaming hydrogen of the grand ship caught fire, causing it to burst into glittering yellow flames and killing 36 people. Shere was one of about two dozen and newsreel photographers who documented the fiery tragedy. But it is his image, with its strong imprint and terrifying grandeur, that is enduring as the most famous on the front pages around the world and due to its publication in LIFE, and more than three decades later, its use on its cover The first LED Zeppelin album.

The accident helped bring the age of the airplanes closer, and Shere's powerful picture of one of the world's earliest early air disasters could lead to human remembrance and destruction. Almost as famous as the photo of the lion is the agonizing voice of Chicago radio announcer Herbert Morrison, who cries as he sees people leaping into the air, "It's bursting into flames… it's terrible." It is one of the worst catastrophes in the world ... Oh, humanity! "

19. Guillero Heroico, 1960

The day Alberto Corda took his iconic photo of Cuban revolutionary Che Guevara, a ship exploded in Havana Harbor, killing the crew and dozens of dockworks. Covering the funeral for the newspaper Revolucienne, Korda focused on Fidel Castro, who led the U.S. in a raging organization. Accused of causing the explosion. The two frames he shot of Castro's young colleague appeared to be one, and he went unpublished by the newspaper.

But nearly seven years after Guevara was killed in Bolivia leading a guerrilla movement, the Cuban regime embraced him as a martyr for the movement, and Korda's image of the Berta-Clade revolutionary soon became the most enduring symbol . In short order, Guerillaro Heroico was appropriated by artists, causes and fans from around the world, appearing on everything from protest art to underwear to soft drinks. It has become a cultural shorthand for the rebellion and is one of the most recognizable and reintroduced images, with its influence long since crossing the subject from time to time.

20. Dali Atomic, 1948

Capturing the essence of those who worked the life of Philip Halesman. So when Halesman shot surrealist painter Salvador Dali as his friend and longtime collaborator, he knew that a simple seated portrait would not be enough. Inspired by Dali's painting Leda Atomica, Halesman created an elaborate scene to surround the artist including original work, a floating chair and an in-progress easel suspended by thin wires. Assistants, including Halesman's wife and young daughter Irene, stood out of the frame, at the photographer's count, throwing three cats and a bucket of water into the air, while Dali leaped.

It took the assembled artists to capture a 26-year-old composition that satisfied Halesman. And no wonder. The final result, published in LIFE, exposes Dali's own work. The artist painted a drawing directly on print before publication. Prior to Hailsman, photographer photography was often stilted and softly blurred, with a clear understanding between the photographer and the subject. Halesman's approach to bringing subjects such as Albert Einstein, Marilyn Monroe and Alfred Hitchcock, to the front of the camera, redefines portrait photography and inspires generations of photographers to collaborate with their subjects.

21. View from the window at Le Gras, 1826

It took a unique combination of ingenuity and curiosity to produce the first known photograph, so it is fitting that the person who created it was an inventor and not an artist. In the 1820s, Josef Knickfour was fascinated by the printing method of Nipse lithography, in which images drawn on stone could be reproduced using oil-based ink. Exploring other ways to produce images, Niepse set up a camera, called a camera obscura, that captures and approximates scenes illuminated by sunlight, and uses it in his studio window in eastern France Trained on the outside scene. The scene was mounted on a treated plate which, after several hours, retained a crude copy outside buildings and roofs. The result was the first known permanent photograph. It would not be an exaggeration to say that the achievement of NEPES laid the foundation for the development of photography. Later, he worked with artist Louis Daguerre, whose Sharp Doguerotype photographs marked the next major advancement of photography.

22. Leap in Independence, 1961

Full story on this article. After World War II, Allied governments carved Berlin into four occupied territories. Yet each part was not the same, and from 1949 to 1961 some 2.5 million East Germans fled the Soviet part in search of independence. To stop the flow, East German leader Walter Ulbricht threw a barbed wire-and-cinder-barrier barrier in early August 1961. A few days later Associated Press photographer Peter Liebing was ripped off that an amputation might have occurred. He and other cameraman gathered and watched as 19-year-old border guard Hans Conrad Schumann watched as a crowd from West Berlin shouted, "Come on!" Shuman, who later said he did not want to "engage the living", suddenly fled for the barricade.

As he cleaned the sharp strings, he dropped his rifle and was thrown away. Sent across the AP wire, a photo of Leibing was played on front pages around the world. This created Schumann, the first known East German soldier to flee as the first child to yearn for free, while urging East Germany's emphasis on Berlin's more permanent wall. Schumann was saddened by everyone's weight. While he lived quietly in the West, he could not join hands with his unexpected stature as a symbol of freedom, and he committed suicide in 1998.

23. Hand of Mrs. Wilhelm Röntgen, 1895

There is no way of knowing how much Anna Bertha Röntgen's paintings were, and most have certainly been lost to history. But there is not one of them: it is of her hand - more accurately, the bones of her hand - an image captured by her husband Wilhelm when she underwent the first medical X-ray in 1895. Wilhelm spent several weeks working in his laboratory experimenting with a cathode tube, which emits different frequencies of electromagnetic energy. Some, he observed, appeared to penetrate solid objects and uncover sheets of photographic paper. He used bizarre rays, which he dubbed as X-rays, to create shadowy images inside various inanimate objects and then, finally, a very conscious one.

The photograph of Anna's hand created a sensation, and the discovery of X-rays won Wilhelm the first Nobel Prize for Physics in 1901. Their success rapidly became used worldwide, revolutionizing the diagnosis and treatment of injuries and illnesses. Always hidden from sight. However, Anna was never taken with the photograph. "I have seen my death," he said when he first saw it. For many millions of others, it means life.

24. Raising the flag on Iwo Jima in 1945

It is a volcano piled 760 miles south of Tokyo, blocking the Allies' march towards Japan. The Americans needed Iwo Jima as an airport, but the Japanese were sunk. American troops began a month-long battle on February 19, 1945, claiming the lives of 6,800 Americans and 21,000 Japanese. On the fifth day of the war, the Marines captured Mount Suribachi. An American flag was quickly raised, but a commander summoned a large man to inspire his men and to lower the morale of his opponents. Associated Press photographer Joe Rosenthal topped his heavy-speed graphic camera, and as five Marines and a Navy Corpsman prepared to hoist the stars and the strip, Rosenthal stepped back to get a better frame And almost missed the shot.

"There was a storm in the sky," he later wrote in what has become one of the most recognizable images of war. "The wind hoisted the flag at the heads of the group, and the dismembered terrain and bushy stalks at their feet evoked the unrest of the war." Two days later Rosenthal's photo was taken from the U.S. The painting, which Rosenthal received the Pulitzer Prize, echoed that it was made in a postage stamp and placed as a 100-ton bronze memorial.

25. Emmett Till, 1955

In August 1955, Emmett Till, a Chicago-based black teenager, went to visit relatives in Mississippi when he stayed at Bryant's grocery and meat market. There he encountered a white woman, Caroline Bryant. Whether Bryant was actually molested or not known but that is what happened four days later. Bryant's husband Roy and his stepbrother, J.W. Milam, a 14-year-old seized from his great-uncle's house. The pair then beat Till, shot him, and stuck barbed wire and a 75-pound metal fan around his neck and threw a lifeless body into the Tallhatchi River.

A white jury quickly acquitted the men, with one juror saying that it only took so long because they had to break up to drink some pop. By the time Till's mother Mamie came to identify her son, she told the funeral director, "Let people see what I've seen." She brought him home to Chicago and insisted on an open plank. Thousands of Tilles recorded Till's remains, but there was the publication of his funeral image in the jet, in which a mummy destroyed the body of his murdered child, which reintroduced the world into the brutality of American racism. Forced to. For nearly a century, African Americans were reared with regularity and impurity. Now, thanks to a mother's determination to highlight the barbarity of crime, the public can no longer pretend to ignore what they can see.

26. Cotton Mill Girl, 1908

While working as an investigative photographer for the National Child Labor Committee, Lewis Haine believed that images of child labor would force citizens to demand change. Macar made his way from Massachusetts to South Carolina's mills and factories to tell the plight of nearly 2 million children. Moving around a large-format camera and taking down information in a hidden notebook, Heine recorded children working in meatpacking houses, coal mines, and canaries, and in November 1908, they went to Sadie Pfeiffer's Came, who illuminated the world.

A girl 48 inches tall intelligent, she was "one of many young children at work" working an amazing cotton-spinning machine in Lancaster, SC, as Heine often had to lie down to take her shots, So he created a "double". Make sure my photo data was 100% pure - no retouching or fecking of any kind. "Their images as children under the age of 8 from the morass of a cold, mechanized universe, publicly prescribing the horrors of child labor, leads to regulatory legislation and from 1910 to 1920 in about half of child labor. Cuts the number.

27. Hitler at a Nazi party rally, 1934

For the Nazis, the spectacle was like oxygen and Hitler Hoffman was instrumental in staging Hitler's growing strength. Hoffmann, who joined the party in 1920 and became Hitler's personal photographer and confidant, was accused of choreographing the regime's publicity Carnival and selling it to an injured German public. Hoffmann did it better in his rigidly symmetrical photograph at the Buckeberg Harvest Festival on September 30, 1934, where Mephistophelian Führer waved swords at the center of the grand Wagnerian imagination of soldiers and support troops. Hoffman- took over 2 million photographs of his boss and, capturing many other such fijwars, fed the regime's massive propaganda machine and spread his diabolical dreams.

Such images were all-encompassing in Hitler's Reich, which used Hoffman's photographs, Stark graphics on Nazi banners, and Lenny Roffenstahl's films to create Aryanism to worship theism. A nation eager to reclaim its spirit, outraged by the First World War, punished by reevaluation and the Great Depression, a rally was taken out by Hitler's philosophy and his invincible men for righting wrong. Hoffman's expertly presented propaganda is a testament to the power of photography to move nations and sink the world into war.

28. Gandhi and the Spinning Wheel, 1946

From 1932 to 1933 when the British kept Mohandas Gandhi prisoner in Yerwada jail in Pune, India, the nationalist leader made his thread with a charkha, a portable charkha. Developed from a source of personal comfort while imprisoned in the touchstone of the campaign for independence, Gandhi encouraged his countrymen to make their own homespun clothes instead of buying British goods. By the time Margaret Bourke-White came to Gandhi's campus for a life article on the leaders of India, the spinning was tied to Gandhi's identity that his secretary Pyarelal Nayyar told Bourke-White that he was accompanied by the leader's photograph The craft was to be learned.

Bourke-White's picture of Gandhi reading the news with his charkha never appeared in the article for which it was taken, but less than two years later, in a tribute published after Gandhi's assassination, Jeevan shared the photo Shown prominently. It soon became an indelible image, a civil-disobedience crusade killed with its most powerful symbol, and helped to solidify Gandhi's belief outside the subcontinent as a saintly man of peace.

29. Embryo, 18 weeks, 1965

When LIFE published Lennart Nilsson's photo essay "Drama of Life Before Birth" in 1965, the issue became so popular that it sold out within days. And for good reason. Nilsson's images first publicly revealed what a developing fetus looks like, and in the process new questions have been raised as to when life begins. In the accompanying story, LIFE reported that one in all fetuses were pulled out of the womb and removed - or for various medical reasons - "

Nilsson had a deal with a hospital in Stockholm, whose doctors called him whenever a fetus was available for photographs. There, in a dedicated room with lights and lenses specifically designed for the project, Nilsen arranged for the embryos to appear floating in the womb. In the years after Nilsson's essays were published, the images have been widely appropriated without his permission. In particular, antiabortion activists have used them to advance their cause. (Nilsson has never taken a public stance on abortion.) Yet, decades after it first appeared, Nilsson's images are in their early stages for their unprecedented clear, detailed view of human life.

30. D-Day, 1944

It was an invasion to save civilization, and Robert Capa of LIFE was the only photographer to work with 34,250 soldiers on Omaha Beach during D-Day Landing. His photographs — influencing the movement from the center of that brutal attack — gave the public an American soldier's view of the dangers of war. The soldier in this case was Private First Class Huston Riley, who after the Nazis had left his landing craft leaped into such deep water that he had to walk along the bottom until he could no longer hold his breath. When he activated the life guard of his Navy M-26 belt and floated to the surface, Riley became a target for gun and artillery shells beneath his comrades. At times, the 22-year-old soldier took about half an hour to reach the Normandy shore.

Capa took this picture of him in the surf and then helped Riley with the help of a sergeant, who later recalled thinking, "What is this guy doing here?" I can not belive it. There is a cameraman on the coast here. "Capa spent an hour and a half under fire as the men around him died. A courier delivered four rolls of his film to the London offices of LIFE, and the magazine's general manager stopped the press to bring them to the June 19 issue. Most of the film, however, did not show any images after processing, and only a few frames survived. The remaining images have a grainy, blurred look that gives them a frantic sense of action, a quality that has come to define our collective memory of that epic struggle.

31. The Pillow Fight, 1964

Harry Benson did not want to meet the Beatles. The Glasgow-born photographer had plans to cover a news story in Africa when he was assigned to photography musicians in Paris. "I took myself for a serious journalist and I didn't want to cover Rock 'n' Story." But once he met the Liverpool boys and heard them playing, Benson had no desire to leave. "I thought ,, God, I'm on the right story." The Beatles were at the pinnacle of greatness, and Benson was in the middle of it. Their pillow-fight picture, taken at the Swangy George V Hotel on the night the band discovered that the "I Want to Your Hand" hit No. 1 in the US, gave John, Paul, George and Ringo a brilliant cascade of childish talent Freezes in —And perhaps unbridled innocence in his last moments.

It reflects the sheer joy, joy and optimism that will be adopted as Beatlemania and which helped lift America's morale just 11 weeks after the assassination of John F. Kennedy. The following month, Benson flew to New York City to kick-start the British invasion at The Ed Sullivan Show with the Fab Four. The trip led to decades of collaboration with the group and Benson later recalled, "I was close to not being there."

32. The Face of AIDS, 1990

Full story on this article. David Kirby's death surrounded his family. But at the time of the death of Theres Frere, a 32-year-old man, his picture did nothing more than capture a heart-wrenching moment. It humanized AIDS, a disease that killed Kirby when he was largely out of public view for the victims. Fryre's photo, published in LIFE in 1990, shows how the widely misunderstood disease devastated more than just its victims. It would be another year when the red ribbon became a symbol of mercy and resilience and three years ago President Bill Clinton created the White House Office of National AIDS Policy.

In 1992, the clothing company Benetton used a colorful version of Frère's picture in a series of inflammatory advertisements. Many magazines refused to run it, and many groups called for a boycott. But Kirby's family agreed to its use, believing that the advertisement helped bring about significant awareness of AIDS when the disease was still undiagnosed and the federal government lobbied to accelerate the development of the new drugs suffering Was doing. "We felt it was time people saw the truth about AIDS," said Kirby's mother Kay. Thanks to Fraure's image, he did.

33. First cell-phone picture, 1997

Boredom can be a powerful incentive. In 1997, Philip Kahn was trapped in the maternity ward of Northern California for doing nothing. At the time of the birth of his wife Sophie, the software entrepreneur was separated from his wife. So Kahn, who was rife with techniques that instantly share images, has created Jerry — a device that can send a picture of his newborn to his friends and family in real time. Like any invention, the setup was crude: a digital camera connected to his flip-top cell phone, which he synced with a few lines of code written on his laptop in the hospital. But the impact has changed the world: Kahan's device captured his daughter's first moments and instantly catapulted her to more than 2,000 people.
Kahan soon refined his ad hoc prototype and in 2000 Sharp used his technology to release the first commercially available integrated camera phone in Japan. The phones were introduced in the US market a few years later and soon became ubiquitous. Kahn's invention forever changed how we communicate, experience and experience and form the basis for smartphone and photo-sharing applications such as Instagram and Snapchat. Phones are now used to send hundreds of millions of images worldwide each day - including a fair number of baby pictures.

34. Raising a flag above the Reichstag, 1945

Full story on this article. "This is what I've been waiting for 1,400 days," said Yevgeny Khaldei, of Ukrainian descent, who was amazed to see the ruins of Berlin on May 2, 1945. After four years of fighting and being photographed in Eastern Europe, Red Army soldiers arrived. The Nazis' homeland has their Leica III rangefinder and a massive Soviet flag made by three red tablecloths by their uncle, a tailor. Adolf Hitler had committed suicide two days earlier, yet war broke out as Khaldei made his way to the Reichstag. There he asked three soldiers to join him, and they climbed the broken stairs on the blood-soaked parapet of Parliament House. Staring through his camera, Khaldei knew that he had taken the shot he had hoped for: "I was very happy."

In printing, Khaldei dramatically depicted the image by intensifying the smoke and blackening the sky - even scratching out the negative part - to create a romantic scene that contrasts the reality, artistry of the part and all Was patriotic. Published in the Russian magazine Ogonk, the image became an instant publicity icon. And no wonder. Flags raised from the heart of the enemy heightened the nobility of communism, proclaiming new overlords to the Soviets, and indicated that by lowering the curtain of war, Premier Joseph Stalin would soon be waving a cold iron across the country.

35. Behind Closed Doors, 1982

There was nothing particularly special about Garth and Lisa or the violence that occurred in the bathroom of their suburban New Jersey home one night in 1982. Angered by an alleged slight, Garth beat his wife while she was in a corner. Such acts of intimate-partner violence are not uncommon, but they are usually private. This time there was another person in the room, photographer Donna Ferretto. Ferretto, who came to know the couple through a photo project on rich swings, knew that simply witnessing was not enough. His shutter used to click again and again.

Ferretto contacted the magazine editors to publish the images, but everyone refused. So Ferretto did in his 1991 book Living with the Enemy. Milestone segment domestic violence violence episodes and their aftermath, including the pseudonym Garth and Lisa. Their real names are Elizabeth and Bengt; His identity was first revealed as part of the project. While inside the women's shelters and shadowing police, Ferto captured the incidents and the victims. His work helped bring violence against women out of the shadows and forced policy makers to confront the issue. In 1994, Congress passed violence against women, increasing penalties against criminals and helped train police to consider it as a serious crime. Thanks to Ferreto, a private tragedy became a public cause.

36. Famine in Somalia, 1992

James Nachtwey did not get the job of documenting the spiral famine in Somalia in 1992. Mogadishu was embroiled in armed conflict as food prices rose and international aid failed to keep pace. Yet few people in the West received much attention, so American photographers went to Somalia, where they received support from the International Committee of the Red Cross.

Nachtwey recovered a cache of howting images, including this scene of a woman waiting to be taken to a feeding center in a wheelchair. After being published as part of a cover feature in the New York Times Magazine, a reader wrote, "Dare we say that it doesn't hurt?" The world was shaken like that. The Red Cross stated that it had its largest campaign after World War II, resulting in public support. One and a half million people survived, Jean-Daniel Tarsam of the ICRC told the Times, and "James" made the difference. "

37. Muhammad Ali Vs. Sunny Liston, 1965

Such big photography is happening at the right place at the right time. That's when it was for sports illustrated photographer Neil Leifer, when he shot the biggest sports photo of the century. "I was clearly in the right seat, but what matters is, I don't remember," he said. Leifer took the ringside spot in Lewiston, Maine, on May 25, 1965, as 23-year-old heavyweight boxing champion Muhammad Ali won against Sunny Liston, 34, to snatch the title of the man he had previously held the title from. . year. In the first round, in one minute and 44 seconds, Ali's right fist connected with Liston's chin and Liston.

Leifer snapped a photo of a shampoo on his worn-out opponent and taunted him, "Get up and fight, suck!" Powerful overhead lights and thick clouds of cigar smoke had turned the ring into the perfect studio and Leifer took full advantage of it. His perfectly embodied image captures Ali the strength and poetic bestiality that made him the nation's most beloved and modified athlete, at a moment when politics, and popular culture in 60s sport Was surprised.

38. The Situation Room, 2011

Official White House photographers met with presidents over the phone and at work with world leaders and presided over the Oval Office meeting. But sometimes the unique reach allows them to capture moments of water-movement that become our collective memory. On May 1, 2011, Pete Souza was inside the situation room, as US forces attacked Osama bin Laden's Pakistan compound and killed the terrorist leader. Yet Souza's picture has neither raids nor Laden.
Instead he caught those watching the secret operation in real time. President Barack Obama decides to launch the attack, but like everyone else in the room, he is the only audience for its execution. He said that he was aghast at the raid on the monitor. Secretary of State Hillary Clinton covers her mouth, waiting to see its results. In a national address that evening from the White House, Obama announced that Laden had been killed. Photographs of the dead body have never been released, capturing Souza's picture and tension as the only public image of the time when terror over the war registered its most significant victory.

39. Nuit de Noel, 1963

The trajectory of his nation was followed in the life of Malian photographer Malik Sidibe. He started raising his family's goats, then trained in jewelry making, painting and photography. As French colonial rule came to an end in 1960, it captured the subtle and profound changes that revived its nation. Nicknamed Bamco's Eye, Sidibe took thousands of photographs that became a real-time chronicle of ecstatic zagatists wooing the capital, documenting fleeting moments.
"Everybody had the latest Parisian style," he observed young people dressed in Vesi clothes, Vespas and in public, as they adopted a world without shaking. On Christmas Eve in 1963, Sidibe happened upon a young couple in a club, lost in each other's eyes. Sidibe called for his "talent to be inspected", allowing him to capture their serene intimacy, as they graced an empty dance floor. "We were entering a new era, and people wanted to dance," Sidibe said. "The music freed us. Suddenly, young men can become close to young women, holding them in their hands. Earlier, it was not allowed. And everyone wanted to be photographed dancing closely. "

40. Saigon execution, 1968

Full story on this article. The act was surprising in its contingency. Associated Press photographer Eddie Adams was on the streets of Saigon on February 1, 1968, two days after the Army of the People's Army of Vietnam and Vietnam Kang closed Tate and swam to dozens of South Vietnamese cities. As Adams photographed with the turmoil, he came upon Brigadier General Nguyen Gaink Lone, who was the head of the National Police, standing alongside Captain Nagin Van Lem, a terrorist squad who had the family of one of Lone's friends Was killed. Adams sensed that he was looking at a prisoner interrogation. But as he watched through his viewfinder, Lone calmly picked up his .38-caliber pistol and briefly fired a bullet through Lem's head.

After the suspect was shot, the general justified the suddenness of his actions by saying, "If you hesitate, if you did not perform your duty, the men did not follow you." The Tate offensive created an uproar in March. Yet when the US military pushed back the Communists, press reports of anarchy convinced the Americans that the war was inconceivable. The cold of the moment of Lem's death symbolized many of the brutality there, and the widespread publication of the portrait prompted a growing feeling in America about the futility of fighting. More important, Adams' photo introduced a more intimate level of war photo journalism. He won the Pulitzer Prize for this image, and as he remarked three decades later about the reach of his work, "still photographs are the most powerful weapon in the world."

41. Black Power Salute, 1968

The aim of the Olympics is to be a celebration of global unity. But when American sprinters Tommy Smith and John Carlos won medals in the 1968 game in Mexico City, they were determined to clear up the illusion that all was right in the world. Just before "The Star-Spangled Banner" rang, Smith, gold medalist and bronze winner Carlos, bowed his head and raised black-black fists in the air.

His message could not be clearer: Before saluting America, America should treat blacks equally. "We knew what we were going to do was more than any athletic feat," Carlos later said. John Dominis, a quick photographer identified to capture unexpected moments, shot a close-up, showing another layer: Smith in black stockings, his running shoes, in a gesture that symbolized black poverty. Was. Published in life, Dominis's image transformed unrest protests into iconic icons of the turbulent 1960s.

42. Soweto Uprising, 1976

Some people outside South Africa paid much attention to apartheid before June 16, 1976, when several thousand Sowtow students protested against the introduction of compulsory African-language education in their township schools. Along the way he gathered youngsters from other schools, including a 13-year-old student named Hector Peterson. Clashes with the police began and at one point the officers released tear gas. When the students pelted stones, the police opened fire at the crowd. "At first, I ran away from the scene," recalled Sam Nazima, who was covering the protests for the world, the paper that was home to the black Johannesburg. "But then, after healing myself, I went back." That is why when Nazima says that he saw Peterson falling down, there was a barrage of bullets from above. He continued to take photos as Mbuyisa Makhubu of the frightened high school picked up the lifeless boy and eloped with Peterson's sister, Antoinette Sithole.

What began as a peaceful protest soon turned into a violent uprising that claimed the lives of hundreds of people throughout South Africa. Prime Minister John Vorster warned, "This government will not be intimidated." But the armed rulers were powerless against Peterson's picture of Nazima, showing how the South African regime killed its own people. The publication of the photo forced Nazima to hide in the midst of death threats, but the impact could not be more visible. Suddenly the world could no longer ignore apartheid. In the end the seeds of international protest that rose above the racist system were planted by a photograph.

43. The Horse in Motion, 1878

When a horse races or gallops, does it ever become completely aerial? It was Adderwood Muybridge, the photographer of the question set to answer in 1878. Railroad tycoon and former California governor Leland Stanford assured that the answer was yes and commissioned Muybridge to provide evidence. Muybridge developed a way to take photos with exposure to a fraction of the other and arranged for 12 cameras along a track on Stanford's property, with reporters as witnesses.

As a horse flew, it trapped the wires attached to the cameras, taking 12 photographs in rapid succession. Muybridge developed the images on the site and, in the frame, reported that a horse fully adjoining its hooves, tucked under it for a brief moment during a stride. The revelation, inconspicuous to the naked eye but evident through photography, marked a new purpose for the medium. It can capture the truth through technology. Muybridge's stop-motion technique was an early form of animation that paved the way for the motion-picture industry, born a short decade later.

44. Abraham Lincoln, 1860

Abraham Lincoln was a little-known Illinois congressman with national aspirations when he arrived in New York City in February 1860 to speak at Cooper Union. The speech was correct, but Lincoln also knew the importance of the image. Before being taken to the podium, he met Matthew b. Stopped at Brady's Broadway photography studio. The painter, who photographed everyone from Edgar Allan Poe to James Fenimore Cooper and will carry on the ensuing civil war, knew a thing or two about the presentation. He set the gangless rail tear in a politician's pose, tightened the collar of his shirt to hide his long neck and refinished the image to improve his look. In a click of a shutter, Brady dispelled what Lincoln had said "rumors of my long unnatural figure ... make me into a human aspect and a man with respectable bearing."

Abraham Lincoln was a small congressman from Illinois with national aspirations when he arrived in New York City in February 1860 to speak at Cooper Union. The speech was correct, but Lincoln also knew the importance of the image. Before being taken to the podium, he met Matthew B. Stopped at Brady's Broadway photography studio. The painter, who photographed everyone from Edgar Allan Poe to James Fenimore Cooper and will carry on the ensuing civil war, knew one or two things about the presentation. He set the gangless rail tear in the pose of a politician, tightened the collar of his shirt to hide his long neck and refined the image to improve his look. In a click of the shutter, Brady stated that what Lincoln had said "rumors of my tall unnatural figure ... make me a man with a human aspect and respectable bearing."

45. Iraqi Girl at Checkpoint, 2005

This photo of American photo journalist Chris Hondros precedes the photo of Samar Hasan, the little girl was in the back of her family's car as they left home from the Iraqi city of Tall ar Afar. Now Samar was an orphan, his parents shot and killed American soldiers who opened fire because he feared the car might be a rebel or suicide bomber. It was January 2005, and the war in Iraq was the most brutal.

Such catastrophic accidents were not rare in that chaotic conflict, but they were never documented in real time. Hondros, who worked for Getty Images, was embedded with the Army unit when the shooting took place. He immediately aired his photographs, and the next day they were published worldwide. The images led the US military to revise the processes of its investigation, but their greater influence was in forcing the already skeptical public to explain why American soldiers were killing those they liberated from instability And came to the defense. Hondros was killed during a civil war in Libya in 2011.

46. Gorillas in the Congo, 2007

The Senquequé Silverback mountain gorilla weighed at least 500 pounds when its body was carried on a waterfall stretcher, and it took more than a dozen people to wave it in the air. Brent Stirton witnessed the scene in Virunga National Park, Democratic Republic of Congo. Senquequé and several other gorillas were shot in the park due to a violent conflict where half of the world's critically endangered mountain gorillas live.

In 2007, when Stirton photographed residents and park rangers taking Senekwe off the forest, firewood was being illegally harvested by people in the park, which could be used in the charcoal industry, Which grew in the wake of the Rwandan genocide. In the photo, the senquéway looks vast but vaguely human, a reminder that affects the conflict in Central Africa, more than just humans caught in fire across it; It also touches the environment and animal habitats of the area. Three months after Stirton's photo was published in Newsweek, nine African countries — including Congo — signed a legally binding treaty to protect mountain gorillas in Virunga.

47. Bandit's Roast, Mulberry Street, circa 1888

New York City was a magnet for the world's expatriates in the late 19th century, and most of them were seen not sleeping on the streets but with an almost inhumane squealer. While polite society turned a blind eye, brave journalists such as Danish-born Jacob Rees documented this shame of the Guild Age.

The nobles did this by planting their indiscriminate magnesium flash powder lights in the most inauspicious areas of the city, capturing accidental crime, poverty and frightening congestion. The most famous of these was the Rais image of the Lower East Side Street Gang, which portrays the danger that lurks around every turn. Such work became the basis of his revelation book about how other Half Lives, which forced Americans to confront what they long ignored, and galvanized reformers such as New York politician Theodore Roosevelt, who called the photographer Wrote, "I have read your book and I have come to help." Rees's work was instrumental in bringing New York State's Landmark Tenement House Act, 1901, which improved conditions for the poor. And his crusade approach and direct, confrontational style marked the beginning of the documentary era and tarnished photo-journalism.

48. Milk Drop Coronet, 1957

Before Harold Edgerton rigged a milk dropper next to the timer and a camera of his own invention, it was almost impossible to take a good picture without heavy equipment in the dark. It was similarly futile to try to take a picture of a fleeting moment. But in his lab at MIT in 1950, Edgerton began tampering with a process that would change the future of photography. The electrical-engineering professor there combined high-tech strobe lights with camera shutter motors, which could capture incoming moments for the naked eye. Milk Drop Cornet, his revolutionary stop-motion picture, relieves the effect of a drop of milk on a table, a crown of liquid for the camera for just one millisecond.

The photograph proved that photography could advance human understanding of the physical world, and the technology Edgerton used laid the foundation for modern electronic flash. Agegerton worked for years to correct his milk-dropping photographs, many of which were black and white; In 1937 an edition was displayed at the first photography exhibition at the Museum of Modern Art in New York City. While the person known as Dock blinked the other eyelid as soon as it blinked, like bursting balloons and piercing an apple. , Their milk drops remain a classic example of art's ability to create evidence.

49. Surfing Hippos, 2000

Seven billion humans occupy a certain amount of space, which is one reason why the jungle — the true, untouched jungle — is shrinking rapidly around the world. Even in Africa, where lions and elephants still roam, space for wild animals is shrinking. This is what makes Michael Nicholls' picture so special. Nichols and the National Geographic Society explorer Michael Fay hiked 2,000 miles from Congo to Gabon in Central Africa on the continent's west coast.

It was from here that Nichols took some stunning-hippopotamuse photos floating in the midnight blue Atlantic Ocean. This was an event previously seen by some - while hippos spend most of their time in the water, their habitat is more likely to be an inland river or a swamp than a crashing sea. This picture is quite beautiful in itself, hippo eyes and snout peeping above the sea surface. But its effect was more than aesthetic. Gabon president Omar Bongo was inspired by Nichols' photographs to create a system of national parks, which now cover 11 percent of the country, ensuring that there would be at least some space left for the wild.

50. Moonlight: Pond, 1904

Is Edward Steichen's ethereal image a photograph or a painting? It is both, and that was his point. Stichen photographed the wood scene in Mamaroneck, N.Y., With black and white prints with blue tones and might have added a shining moon as well. The two mediums had the purpose of blurry portraiture, embraced by professional photographers at the turn of the 20th century as a way to differentiate their work from amateur snapshots taken with newly available handheld cameras. And none of the images were more preliminary than Moonlight.

A year before Moonlight was created, Steichen wrote an essay stating that when and where to choose the shutter to click was no different than changing the photo. The photographers said, there is always a perspective that necessarily distorts the authenticity of their images. Although Steichen eventually abandoned the pictorial, the effect of the movement can be seen in every photographer who wants to create scenes, not to capture them. The moonlight also keeps echoing. A century after making Steichen's image, a print sold for about $ 3 million.

51. The Vanishing Race, 1904

Native Americans headed to America's grand west. As the settlers resolved the seemingly endless stretches of the young nation, they dispossessed the Indians from their ancestral lands, amalgamated them into weaker reservations and forced them to assimilate. Fearing imminent disappearance of America's first inhabitants, Edward S. Curtis sought to document mixed tribes so that they could become a noble human being- "the old-time Indians, their dress, their ceremonies, their lives and manners." More than two decades later, Curtis turned these photos and comments into The North American Indian, a 20-volume chronicle of 80 tribes.

No one image considered the project better than The Vanishing Race, his picture of Navajo swept across the dusty distance. The photo to Curtis symbolized the plight of the Indians, who were "passing into the darkness of an unknown future." Alas, Curtis's encyclopedic work did more than express the subject - it reinforced a stereotype. Rail companies soon drew tourists westward to get a final glimpse of a dying people, and Indians were seen as a relic, not an integral part of modern American society. This is a belief that remains to this day.

52. Daughter Grable, 1943

There was nothing on Helen of Troy, the Trojan War, and Betty Grable of St. Louis, the legendary Greek demodod who "launched a thousand ships". For that platinum blond, the blue-eyed Hollywood starlet had several gams that inspired American soldiers, sailors, airmen, and marines to save civilization from the Axis powers. Unlike Helen, Betty represented the flesh-and-blood "girl back home", patiently burning the fire. Frank Powley brought Betty to the soldiers by accident. A photographer for 20th-century Fox, he was taking promotional photos of the actress for the 1943 film Sweet Rosie O'Grady when she agreed to a "back shot".

The studio posed in one of the earliest pinups, and soon soldiers were requesting 50,000 copies each month. Wherever the men took Betty, her posters collided with the barrack walls, painting her on a bomb-bash, and fastening 2-by-3 prints next to her heart. Prior to Marilyn Monroe, Betty's smile and legs were said to be a million-dollar insurance with Lloyd of London - who had included countless homic young men in the fight of her life (a young Hugh Hefner, who gave her the inspiration of Playboy Quoted in). "I found a man-eating girl," said Grable, who signed hundreds of his pinups each month during the war. "Just like this, a man has a war."

53. Case Study House No. 22, Los Angeles, 1960

For decades, the California Dream meant the chance to own a plaster house on a bowl of paradise. The point was the yard with palm trees, not the contour of the walls. Julius Shulman helped change all of that. In May 1960, the Brooklyn-born photographer led architect Pierre Koenig's Stahl House, a glass-enclosed Hollywood Hills with an enchanting view of Los Angeles - one of 36 case study houses that expands the virtues of modernism The doers were part of an architecture. Principles and Industrial Materials. Shulman photographed most of the houses in the project, which help demolish modernity and highlight its beautiful simplicity and assume its angular edges. But none of his other photographs were more impressive than taken in Case Study House No. 22.

To show the essence of this air-breaking cantilevered building, Shulman sets two glamorous women in cocktail dresses indoors, where they are seen floating above a mythical, twinkling city. The photo, which he called "one of my creations", is the most successful real estate image ever. It complemented the art of aspiring staging, transforming a house into an avatar of Good Life, California's Stardust, as the Promised Land. And, thanks to Shulman, that dream now includes a glass box in the sky.

54. 99 cents, 1999

It may seem ironic that a picture of cheap goods would set a record for the most expensive contemporary photo ever made, but Andreas Gersky's 99 cents is much more than a visual catalog. In a digitally stitched single from more than one image taken at 99 cents, the only store in Los Angeles, with endless endless rows of goods, shoppers' heads, floating anonymously above the goods, more closely resembled- Painting photography from abstract or contemporary. Which was fine Garski's point. From the Tokyo Stock Exchange to the Mexico City landfill, German architects and photographers use a different meaning of digital manipulation and creation, transforming everyday experiences into art.

As curator Peter Galassi wrote in the catalog for the retrospective review of Gursky's work at the Museum of Modern Art at the Museum of New York City in 2001, "High art vs. commerce, conceptual rigor vs. intuitive observation, photography vs. painting ... of Gursky For all they are — not adversaries but companions. ”The ability to present man-made and mundane with fresh eyes has helped modern photography enter the art world elite. In 2006, before the Great Recession. On key days, the 99 cents auction sold for $ 2.3 million. The record for a contemporary photo has been surpassed, but the sale has more than any other pages of auction catalogs with oil paintings and marble sculptures by older masters In order to mislead modern photography.

55. Blind, 1916

Even if he can see, the woman in the leading image of Paul Strand may not know that she was photographed. The Strand wanted to take people into their own, not presuming to be their own, and so when documenting immigrants on the Lower East Side of New York City, they used a false lens, giving them a direction. Was allowed to shoot in, as his large camera was also pointed. In another. The result seems effortless and honest, a radical departure from formal portraits of people across the ages.

Strand's picture of the blind woman, who said she was selling newspapers on the street, is candid, the woman's face away from the camera. But Strand's work did more than make an ineffective glance at a moment when the nation was being revived by a surge of immigrants. From portraying subjects without his knowledge - or consent - and using his images to promote social awareness, Strand helped pave the way for a completely new form of documentary art: street photography.

56. The Loch Ness Monster, 1934

If the giraffe never existed, we would have to invent it. It is our nature to grow bored with the impossible but real and seek the impossible. So it is with that photo, called Loop Ness Monster, taken by British doctor Robert Wilson in April 1934. However, Wilson was listed only to cover earlier frauds by wild-game hunter Maramaduke Wetherell. Which was sent to Scotland by London's Daily Mail for the monster's bag. With no monster for the bag, Wetherall brought home pictures of hippo prints that he said were from Nessie's.

Mel captures the wisecracker and discredits Vedrell, who then returns with a toy submarine-made monster. He and his son used Wilson, a respected physician, to lend Wax credibility. Mail ends; Wilson has no reputation. Loch Ness's image is something as a loststone for conspiracy theorists and fanatics, as is the absolutely authentic photo of the famous face on Mars taken by the Viking Inquisition in 1976. The thrill of that was only until 1998, when the Mars global surveyor proved that the face was, as NASA said, a topographic formation, one that by the time the windblown was almost gone. We were innocent in those sweet, pre-Photoshop days. Now we know better - and we trust nothing. The art of counterfeiting has advanced, but its charm, much like the Martian face, is all but gone.

57. Windblown Jackie, 1971

People could not easily find Jacqueline Kennedy Onassis, the beautiful young widow of the slain president who married a wealthy wealthy Greek shipping tycoon. She was a public figure with a largely secure private life, which made her a prime target for photographers wherever she went. And no one was as dedicated to capturing the former First Lady as Ron Galella. One of the original freewheeling celebrity shooters, Galala modeled for today's paparazzi with a follow-up style that attracted everyone from Michael Jackson and Sophia Lorraine to Marlon Brando, which attracted Galala's attention that he had shot five of the photographer's Sour teeth. . But Gala's favorite subject was Jackie O, whom he shot to the point of obsession.

After spotting him in New York City's Upper East Side in October 1971, Galaella was constantly determined to take him in a taxi and trail onassis. The driver honked his horn, and Galala clicked his shutter just as Onassis looked towards him. Direction. He said, "I don't think she knew it was me." "So she smiled a little bit." The portrait, which Galla proudly called "Merry Mona Lisa", introduces an unexpected spontaneity that marks a picture of a great celebrity. Writer Michael Gross says, "It was an iconic picture of the American celebrity elite, and it created a style." The image also tested the blurred line between news and personal rights of a public figure. Continuing attention, Jackie twice dragged Galila to court and eventually banned her from being photographed with her family. In view of this, there is no dearth of others.

58. The Hooded Man, 2003

Hundreds of photo journalists in Iraq covered the conflict, but the most memorable image from the war was taken not by a professional but by a US Army Sergeant Sergeant, Ivan Frederick. In the last three months of 2003, Frederick Abu Garib was the most senior man in prison, a facility on the outskirts of Baghdad that made Saddam Hussein a symbol of terror for all Iraqis, then used as a detainee by the US military was going. Center for suspected rebels. Even before the Iraq war began, many questioned the intentions of the American, British and allied governments to invade Saddam. But there was nothing less than the allies' claim that they were helping to bring democracy to the country more than the scandal on Abu Ghraib.

Frederick was one of several soldiers who participated in the torture of Iraqi prisoners in Abu Ghraib. All the more incredible was that he took and shared thousands of images of his mistreatment, insults and torture of detainees with digital cameras. The most widely publicized was "The Hooded Man" partly because it was less conspicuous than the others and therefore could be more easily visible in mainstream publications. The man with the arms seen in the photo was deprived of his sense of personal security, with his vision, his clothes, his dignity, and electrical wiring. And his pose? It sounded like a deliberate, unnecessary Christian. The liberating invaders, it seemed, were nothing sacred.

59. American Gothic, 1942

As the 15th child of a black Kansas sharecropper, Gordon Parks knew poverty. He did not experience bizarre racism until he arrived in Washington in 1942 for a fellowship in the Farm Security Administration (FSA). Park, who became the first African-American photographer at LIFE, was stunned. "The white restaurant introduced me through the back door. White cinemas won't even let me go in, "he recalled. Refusing to be cowed, Parks searched for older African Americans to find out how they deal with such daily urges and came across Ella Watson, who worked at the FSA's building.

He told her about her life of struggle, which killed a father who was killed by a mob, shot a husband. A clear parody of Grant Wood's iconic 1930 oil painting, culminating in American Gothic, he captures Watson's picture of his day. It served as an indictment of the treatment of African Americans by pronouncing inequality in the "land of the free," and pre-civil rights became a symbol of life in America. "What the park had to do was expose the evils of racism," Parks later observed, "showing the people suffering under it.

60. Prague invasion, 1968

Full story on this article. The Soviets did not care about the "socialism with a human face" that Alexander Dubsk's government brought to Czechoslovakia. Fearing reform of Dursac's human rights led to a kind of democratic revolt in Hungary in 1956, leaving the Warsaw block force to end the movement. On August 20, 1968, their tanks rolled into Czechoslovakia. And when they immediately seized control of Prague, they unexpectedly ran against flag-waving civilians who removed barricades, stone-filled tanks, overtaken trucks, and even road signs to confuse them. . Soldiers. Josef Koudelka, a young Moravian-born engineer taking fictional and gritty pictures of Czech life, was on arrival at the capital. They took pictures of the revolving upheaval and made a spectacular record of invasion, which would change the course of their nation.

The most seminal piece involves a man's hand in the foreground, reflecting a moment of Soviet invasion along a deserted road in the distance on his wristwatch. It beautifully throttles time, loss and nothingness and a society. Visual memories of Kadelka's informal conflict — the evidence of ticking time, the brutality of the attack and the challenges faced by Czech civilians — redefining photo journalism. His photographs were smuggled out of Czechoslovakia and appeared in the London Sunday Times in 1969, although according to the pseudonym P.P. For Prague photographer, since Caudelka feared rebellion. He soon fled, his reasoning for leaving the country a testament to the power of photographic evidence: "I was afraid to go back to Czechoslovakia because I knew that if they wanted to find out who the unknown photographer was, they would do so. Could do. "

61. Bosnia, 1992

Even the most shocking images can take time to have an effect. The war in Bosnia had not yet started when American Ron Haviv took this picture of a Serb kicking a Muslim woman who was shot by Serb forces. Haviv had access to the Tigers, a ruthless nationalist militia that warned him not to take photographs of any of the killings. But Haviv was determined to document the brutality he was witnessing and, in a split second, decided to risk it.

TIME published the picture a week later, and the image of casual hatred ignited a wider debate on the international response to the worsening conflict. Nevertheless, the war continued for more than three years, and Havé - who was put on the hit list by the Tigers' leader, Zelko Raznatovic, or Arcan, was disappointed by the rude response. About 100,000 people lost their lives. Before his murder in 2000, Arkan was convicted for crimes against humanity. Haviv's image was used as evidence against him and other criminals known as ethnic cleansing.

62. Boulevard du Temple, 1839

Shoe Shiner, who worked on a spring day at the Boulevard du Temple in Paris in 1839, did not know he would make history. But Louis Daguerre's ground image of man and client is the first known example of a human captured in a photograph. Before Daguerre, people were only represented in artifacts.
 This changed when Dagere fixed his lens on a Parisian street and then exposed a silver-plated sheet of copper for several minutes (although others came into the frame, they could not occupy for long), developed. And fix the image using chemicals. The result was a first mirror-image photograph. In contrast to earlier efforts, dagyreotipes were fast and permanent. And although they eventually ran out of new innovations — Daguerreotipes were not reproducible, nor could they be printed on paper — Daguerre compared perhaps someone else to show the enormous potential of a new medium of photography. I did more.

63. The Dead of Antietam, 1862

It was at the blood-churning battle in Antietam, Sharpsburg, Md., That more Americans than ever died the day before, that a Union soldier recalled how "the heaps of the dead ... were horrific." Photographer Alexander Gardner of Scottish descent arrived there on 17 September 1862, two days after the slaughter. He set up his stereo weight-plate camera and began taking dozens of images of the body-bound countryside, documenting fallen soldiers, burial staff and trench graves. Gardner worked for Matthew Brady, and when he returned to New York City, his employer arranged an exhibition of the work. Visitors were greeted with the plain sign reading, "Dead of Antetam." But what he saw was simple.

Gentile society is regarded as the first recorded images of war casualties. Gardner's photographs are so sharp that people can make faces. The death was not revealed, and a war that seemed remote suddenly became harsh. Gardner helped Americans realize the importance of fratricide that by 1865 it would take more than 600,000 lives. For, the fields did not fall in the face of strangers but sons, brothers, fathers, cousins ​​and friends. And Gardner's images of Antiname created an enduring legacy by setting a painfully powerful visual precedent for how to cover all wars.

64. Winston Churchill, 1941

Britain stood alone in 1941. By then Poland, France, and large parts of Europe had fallen into Nazi forces, and it was those of the Commonwealth, as well as the small nation's pilots, soldiers, and sailors who kept the darkness at bay. Winston Churchill was determined that England's light would continue to shine. In December 1941, when the Japanese attacked Pearl Harbor and the United States was dragged into battle, Churchill visited Parliament in Ottawa to help Canada and the Allies. Churchill did not know that Joseph Varsha was tasked to take his portrait later, and when he came out and saw the Turkish-born Canadian photographer, he demanded to know, "Why am I not told ? " Churchill then lit a cigar, snapped at it and told the photographer, "You can have one." As Karsha prepared, Churchill refused to put a cigar.

Once Varsha made sure everyone was ready, she went to the Prime Minister and said, "Forgive me, sir", and took the cigar out of Churchill's mouth. "By the time I came back to my camera, he was very combative, he could eat me. It was at that moment that I took the picture. "Never a diplomat, Churchill then smiled and said," You can take another "and shook Karsha's hand and told him," You can still make a roaring lion stand that's still to be photographed. " The result of the naming of the lion is one of the most widely reproduced images in history and a watershed in the art of political illustration. It was Karsh's photo of Bulldogish Churchill in the American daily PM and finally on the cover of LIFE - which gave modern photographers our Allowed to make honest, even more important depictions of leaders.

65. Munich Massacre, 1972

The Olympics celebrate humanity at its best, and in 1972 Germany welcomed the Games to drive out its athletes, defer to their democracy and remove the stink of Adolf Hitler's 1936 Games. The Germans called it a "game of peace and joy", and as Israeli féner Dan Alon recalled, "attending the inauguration ceremony was one of the most beautiful moments in my life, only 36 years after Berlin." Security was loosened to project a sense of harmony. Unfortunately, this made it easier for eight members of the Palestinian terrorist group Black September to raid the Munich Olympic Village Building housing Israeli Olympians on 5 September. Armed with grenades and assault rifles, the militants killed two team members, took nine people hostage and demanded the release of their 234 jailed colleagues.

The 21-hour hostage standoff presented the world with its first live window on terrorism, and 900 million people tuned in. During the siege, one of the Black Septemberists made his way to the balcony of the apartment. As he did, Associated Press photographer Kurt Strumph avoided this horrifying image, the face of terror. As Palestinians attempted to flee, German snipers tried to drive them out and Palestinians killed hostages and a policeman. Already, the Arab-Israeli relationship deteriorated further and the siege led to retaliatory attacks on the Palestinian castes. Stramf's picture of that spectator with mutilated eyes is a reminder of how we were reduced when the world was nothing but safe.

66. JFK assassination, frame 313, 1963

It is the best-known home movie ever, and the most carefully studied image, an 8-millimeter film that captured the death of a president. The film is well known as what many say it does or does not reveal, and its existence has fueled countless conspiracy theories about that day in Dallas. But no one would argue that what it shows is not completely heartbreaking, the final moments of the young and charismatic John FitzGerald Kennedy's life as he rode through Delle Plaza with his wife Jackie. Amateur photographer Abraham Zapparder eagerly set out with his Bell & Howell camera on the morning of November 22, 1963 to record the arrival of his hero.

Yet as Zaprudar filmed, a bullet hit Kennedy's back, and the president's car passed through Zapruder, hitting each other in his head. LIFE correspondent Richard Stolley bought the film the next day, and the magazine ran 31 of the 486 frames — which meant that the first public view of Zappruder's famous film was in the form of a series of still images. At the time, LIFE intercepted the horrific frame number 313 - a picture that became impressive by its absence. The one, where the bullet hit the side of Kennedy's head, is still astonishing to look at today, reminding him of a sudden death. Zappruder captured that sunny day, which would haunt him all his life. This is something that destabilizes America, a black dream that hovers behind our collective psyche, an image from a wisecracking 26.5-second film whose visceral impact reminds us that everything is in a fraction of a moment How can change

67. Kent State Shootings, 1970

The shooting lasted 13 seconds at Kent State University in Ohio. When it was over, four students were killed, nine were injured, and a generation's innocence was shattered. The protesters were part of a national wave of discontent created by the new presence of American troops in Cambodia. In Kent State Commons, protesters believed that the National Guard soldiers who were called in to control the mob were firing blank. But when the shooting stopped and the students were dead, it seemed that the war had come home in South-East Asia. John Philo, a student and part-time news photographer, distills that feeling in a single image when he catches Mary Ann Vecchio crying and kneeling over a fatally injured Jeffrey Miller.

Philo's photo was placed on the AP wire and printed on the front page of the New York Times. It went on to win the Pulitzer Prize and has since become a visible symbol of the lost youth of a hopeful nation. As Neil Young wrote in the song "Ohio", inspired by a life story featuring images of Philo, "Tin Soldier and Nixon Upcoming / We Finally On Our Own / This Summer I'm Playing drums in Ohio" / Four dead hear. "

68. The Falling Soldier, 1936

Full story on this article. Robert Capa created his seminal picture of the Spanish Civil War without looking through his viewfinder. Widely considered one of the best war pictures ever done, and the first to show death in battle, Capa stated in a radio interview in 1947 that he was in the trenches with Republican militiamen. The men popped upstairs to charge and fire old rifles in machine guns by soldiers loyal to Franco Franco. Each time, Militamen was shot. During an accusation, Capa placed his camera above his head and clicked the shutter. The result is an image that is full of drama and movement of backward people as shot soldiers.

In the 1970s, decades after being published in the French magazine Wu and LIFE, a South African journalist named O.D. Gallagher claimed that the image was staged by Kappa telling him. But no confirmation was ever presented, and most believe that Capa is a real clear picture of a Spanish militman being shot. Capa's image took war photography to a new level, before reporters were formally combined with combat troops, showing how dangerous it is for photographers to be in the middle of the action.

69. Misery, 1942

Polish-born Dmitry Baltermants had planned to become a mathematics teacher, but instead fell in love with photography. As World War II began, he received a call from his bosses in the Soviet government's letter Izvestia: "Our soldiers are crossing the border tomorrow. Get ready for annexation of Western Ukraine! "At that time the Soviet Union considered Nazi Germany as its ally. But after Adolf Hitler commissioned his comrades and invaded the Soviet Union, the mission of the Baltermants also changed. What was then known as the Great Patriotic War, Covering it, he captures grim images of body-littered streets with troopers for quiet moments. In January 1942, he was in the newly-liberated city of Crimea, where two months earlier the Nazi death squad took over the city. Had surrounded 7,000 Jews.

"They drove out the entire family — women, the elderly, the children," Baltermants recalled years later. "He fired them all from an antitank ditch and shot them." There, Baltermantes arrived in a dilapidated, deformed ground, old and young alike, delighted at the last minute. Some townspeople gathered, their arms were wide. Others clung to paroxysms of grief. Baltermantes, who saw more than part of his death, recorded what he saw. Yet these images of large-scale Nazi assassinations on Soviet soil were too graphic for the leaders of their country, wary of displaying the suffering of their people. Like many photographs of Baltermants, it was a censored one, only to be shown decades later as liberalism as was liberalism in Russian society in the 1960s. When it finally emerged, the photo of the Baltements allowed generations of Russians to form a collective memory of their great war. "You do the best you can," he observed someday, "and someday it will surface."

70. Birmingham, Alabama, 1963

Sometimes the most effective mirror is a photograph. In the summer of 1963, Birmingham was boiling over as black residents and their allies in the civil rights movement repeatedly clashed with the intent of a white power structure to maintain segregation - and whatever it was willing to do. A Montgomery advertiser and a photographer for life, Charles Moore was the son of a native Alabama and a Baptist preacher who was affected by the violence that raged on African Americans in the name of law and order.

Although he photographed many other seminal moments of the movement, it was Moore's image of a police dog tearing the pants of a black patron who captured the brutality of routine, even casual, isolation. When the picture was published in life, it quickly became clear to the rest of the world what Moore knew: ending segregation was not about ending culture, but about restoring humanity . Hesitant politicians soon caused this and almost a year later passed the Civil Rights Act of 1964.

71. Camelot, 1953

Before they could become American royalty, the US needed to meet John FitzGerald Kennedy and Jacqueline Lee Bower. The introduction occurred when, on a summer weekend in 1953, High Pacekin put a beautiful politician's photo on Make and his bright fiancée. Hansis Port, Mass., At the invitation of the family's patron Joseph Kennedy. The ambassador, eager to take his son to the stage as a national figure, will foster a fascination with John, his handsome girlfriend and one of America's wealthiest families, a feature in the pages of LIFE. That did it. Peskin put together "Behind the Scenes" to a certain extent in a series titled "Senator Kennedy Goes A-Courting".

While Jackie had prohibited the intrusion — John's mother Rose told her how she posed — she went with the staging, and got readers to observe Jackie, the "most beautiful young man in the U.S. Senate Members were playing football and softball with ". Her future in-laws, and John aboard the boat, Victura. "He kept me in the boat long enough to take a picture," she later met a friend. It was Pitch-Perfect Brand Making, which featured a self-assured Playboy ready to say goodbye to graduation with Kennedy on the cover of the world's most-read photo magazine. A few months later LIFE would cover the couple's wedding, and by then the US was closed. At the age of Dwight David Eisenhower and Richard Milhos Nixon, Peskin unveiled Camelot's face, which changed the perception of America's politics and politicians, and prevented John and Jackie from becoming the most recognizable duets on the planet.

72. The Babe Bose Out, 1948
He was the greatest bowler of all, the greatest Sultan of Swat. But by 1948, Babe Ruth stayed out of the game for over a decade and battled terminal cancer. So when Dear Bambino stood in front of a massive crowd on June 13 to help celebrate the silver jubilee of Yabi Stadium, known to everyone in attendance as the House, Ruth made and made her number 3 To retire, it was clear that this was a final public goodbye. Nat Fein of the New York Herald Tribune was one of dozens of photographers excluded along the first base line.
But as the sound of "Auld Lang Cine" filled the stadium, Finn "got a feel" and followed Ruth, where she saw the bowler proudly bending over a ball, her thin legs at the toll that her body. Were hovering over From that point on, Fein almost captured the legendary role that athletes play in our lives - even at their weakest, they loom large. Ruth died two months later, and Fein won the Pulitzer Prize for her photo. It was the first award given to a sports photographer, in addition to a hard-news report, which gave significant legitimacy to a form.

73. Doctor of the country, 1948
Although he was praised for his wartime photography, W. Eugene Smith left his most permanent mark with a series of midcentury photo essays for LIFE magazine. The Wichita, Kansa-born photographer spent weeks immersing himself in his subject matter from South Carolina nurse-midwives to Spanish village residents. His aim was to see the world from the perspective of his subjects - and to force the audience to do so. "I want to give myself, not for my subject," he said of his point of view. Nowhere was it clear that his landmark photo essay "Country Doctor."
Smith spent 23 days drifting past the Hardy Doctor through a ranching community of 2,000 souls under the Rocky Mountains. Ernest spent around Seriani and Kromling. He would watch her for infants, injecting them into the backs of cars, developing her own X-rays, a man having a heart attack and then calling a priest to deliver the last rites. By digging so deeply into his work, Smith created an eccentric, deeply intimate glimpse into the life of a remarkable man. It became not only the most influential photo essay of history, but also the aspirational template for the form.

74. Boat of No Smiles, 1977
It is easy to ignore the plight of refugees. They are seen as outnumbered by people, who move from one distant country to another. But a picture can prevent that confusion. The sun did not come out on Thanksgiving Day in 1977, when Associated Press photographer Eddie Adams saw a fishing boat packed with South Vietnamese refugees heading to Thailand. He was on patrol with Thai maritime authorities as the makeshift ship carrying about 50 people came ashore after days at sea. Thousands of refugees have fled to Vietnam by post since the American withdrawal thousands of years ago by Phan fleeing Communism in Southeast Asia in search of safe asylum.
They were often pushed back into the abyss and told to move elsewhere. Adams boarded the packed fishing boat and began shooting. He did not have long. Eventually Thai authorities demanded that he be dissatisfied, with Adams believing that his presence would arouse sympathy for refugees who might force Thailand to open its doors. On that score, they were right. Adams circulated his photographs and wrote a short report, and within days he was widely published. The images were presented at the Congress, which helped open the doors for more than 200,000 refugees from Vietnam to enter the US from 1978 to 1981. "The photos did it," Adams said, "ending it."

75. Firing Squad in Iran, 1979
Some images stand as an execution. On August 27, 1979, 11 people found guilty of being "vengeful" under the regime of Iranian ruler Ayatollah Ruhullah Khomeini were parked in an earthen mound at Sanandaj Airport and gunned down. No international journalist witnessed the killings. They were banned from Iran by Khomeini, meaning that it was up to the domestic press to escalate the bloody conflict between democracy and local Kurds, who were denied representation in Khomeini's government. Iranian photographer Jahangir Razmi was implicated in the trial and played two roles in the film.
An image, with moments of bodies uprooted on the ground and another man joining them, was published anonymously on the first page of the Iranian daily Etela'et. Within hours, members of the Islamic Revolutionary Council appeared in the paper's office and demanded the photographer's name. The editor refused. A few days later, the photo was picked up by the news service UPI and trumpeted around the world as evidence of the murderous nature of the Khomeini brand of religious government. The following year, the firing squad in Iran was awarded the Pulitzer Prize - the only anonymous winner in history. It was not until 2006 that Razmi was revealed as a photographer.

76. Coffin Ban, 2004
As of April 2004, some 700 American soldiers had been killed on the battlefield in Iraq, but images of the dead returning home in coffins were never seen. In 1991, the US government banned news organizations from photographing such scenes, arguing that they violated the privacy of the families and the dignity of the dead. For critics, the policy was merely a way to pacify an increasingly bloody conflict. As a government contractor working for a cargo company in Kuwait, Tami Silisio was fast carrying human cargo, which he was loading and felt compelled to share what he was seeing . On April 7, Silicio used its Nikon Coolpix with over 20 flag-draped coffins as they passed through Kuwait on their way to the Dover Air Force Base in Delaware.
He photographed the U.S. Emailed a friend, who sent it to a photo editor in the Seattle Times. With Cilicio's permission, the Times placed the photo on its front page on 18 April and immediately installed a firearms. Within days, Cilicio was fired and debated the ethics of publishing the images. While the government claimed that the families of soldiers killed in the action agreed with its policy, many felt that the pictures should not be censored. In late 2009, during President Barack Obama's first year in office, the Pentagon lifted the ban.

77. Dovima with Elephant, Paris, 1955
When Richard Avedon photographed Dovima at the Paris Circus in 1955 for Harper's Bazaar, the two were already prominent in their fields. She was one of the most famous models in the world, and she was one of the most famous fashion photographers. It makes sense, then, that Dowima with Elephants is one of the best-known fashion photographs ever. But its lasting effect is as much as the two people who make it. Dovima was one of the last great models of refined mold, when Haute Couture was a relatively cloistered and aristocratic world. From the 1950s onwards, models began to move towards girl-next-door looks rather than the unattainable beauty of the older generation, which helped turn fashion into entertainment. Dovima with Elephant with Divillers Shift and the Power of the Accept of the Elephant and Strength of the Devimas Beauty — and the fragility of her gown, the first Dior dress designed by Yves Saint Laurent.
This diagram also gives impetus to a medium that was also clarified earlier. The models were long mannequins, mean while still standing while the clothes attracted everyone's attention. Avedon saw what was wrong with that equation: clothes didn't just make men; The man also made clothes. And by taking the models out of the studio and placing them against an exciting backdrop, they helped blur the line between commercial fashion photography and art. In this way, Dovima with Elephants has captured a turning point in our broader culture: the ultimate old-fashioned model, setting fashion on its new path.

78. Michael Jordan, 1984
This may be the most famous silhouette ever photographed. Shooting Michael Jordan for LIFE in 1984, Jacobs "Ko" Rantmeister captured the basketball star through the air for a sting, legs apart like a ballet dancer and spread to left-handed stars. A beautiful image, but one that was unlikely Nike had not designed a logo for its young star, which bears a striking resemblance to the photo. Looking for design inspiration for their first Air Jordan sneakers, Nike paid Rantmeister $ 150 for temporary use of their slides from Life Shoot. Soon, "Jumpman" was constructed on shoes, clothes and bedroom walls worldwide, eventually becoming one of the most popular commercial icons of all time.
Along with Jumpman, Nike created the concept of athletes as valuable business qualities for themselves. The Air Jordan brand, which today features other superstar pitchers, earned $ 3.2 billion in 2014. Rantmeister, meanwhile, has sued Naik for copyright infringement. No matter the outcome, it is clear that his image captures the ascendancy of sports celebrities in a multi-dollar business, and it is still taking off.

79. The Death of Neda, 2009
Neda Aga-Soltan was an ill-considered viral icon. On 20 June 2009, the 24-year-old exited his car on the road to Tehran, where the Iranians were massaging in protest against what President Mahmoud Ahmadinejad saw as a far-reaching re-election. The Islamic Republic was experiencing the worst unrest since the 1979 revolution. The state made it illegal to attend demonstrations and barred most of the foreign media, which meant that the burden of effective witness was largely left to citizens who held cell phones in hand.
It was around 6:30 pm. When Aga-Soltan suffered a chest injury from a bullet, a pro-government sniper was asked to pose, although no one was charged. The men struggled to save her as others focused their camera on the unfolding tragedy. A frame from the footage freezes her as a final gaze as deep red stripes form a web on her face. The most important and easily the most important image to get viral as soon as possible caught the attention of the world. Within hours, footage uploaded to YouTube anonymously was viewed by the President of the United States - proof that our new digital era can not only connect people; It can also remain open to the king.

80. The Valley of the Shadow of Death, 1855
While very little is remembered about the Crimea War - that almost three years of conflict had pitted England, France, Turkey and Sardinia-Piedmont against Russia - its coverage fundamentally changed the way we see war. gave. By that time, the general public had learned to fight through heroic paintings and paintings. But after British photographer Roger Fenton landed on that distant peninsula on the Black Sea in 1855, he had a renewed view of the conflict that firmly established the tradition of war photography. Those 360 ​​photographs of camp life and the use of mortar batteries may lack the gut toughness of the men we have become accustomed to, yet Fenton's work showed that this new artistic medium could rival the fine arts is. This is particularly evident in The Valley of the Shadow of Death, which does not appear far from Alfred, a cannonball that had been immortalized in Lord Tennyson's "The Charge of the Light Brigade".
That frightening image, which appears to many people as the poem "Cannon to their right, / Cannon to the left of them, / Cannon in front of them" as a race of soldiers "in the valley of death," also appears to the general public. The reality of lifeless desolation left in the wake of insensitive slaughter. Scholars had long believed that this was the only image of the Fenton Valley. But a second version with a shortage of scattered projectiles changed in 1981, triggering a fierce debate. The recently discovered photo is believed to be the first indication that Fenton may be the earliest one to have photographed the news.

81. The Steerage, 1907
As a leader of the photo-session movement, Alfred Stieglitz discovered beauty through the craftsman creation of photographs, held leading exhibitions of his contemporaries, published his works and took seriously as a painting right now Also looked for newborn art form. In the early 20th century when modernism led to cultural upheavals, Stieglitz was enchanted by society's growing casophony, soaring skyscrapers and soaring airplanes, and emboldened to call "straight photography" the true world. Making a true offer of. In 1907, he was sailing in Europe, towing in a 4 × 5 speed graph, as he sailed from the first-class deck and came upon the public leaning into the ship's steering. There, Schöld and Swaith descended together on the compact lower deck, the ship's oblique geometry emphasizes their claustrophobic accommodation and visually separates them on the upper deck. "A round straw hat; Funnel tilt, left, stair tilt right; The white drawbridge, its railing made of chains, ”Stieglitz later wrote.
"I stood spellbound for a while. I saw shapes related to each other — a picture of the shapes, and underlying it, a new vision that captured me. "Despite its transient effect, Stieglitz's picture, with its clear, unapproachable take on life, has been unnoticed for four years. But when he published it on the cover of his magazine Camera Work, The Steerage's work on photography Introduced a radical way of thinking, not as a momentary imitation of painting, but as a completely created and unique type of art. The emergence of such seminal figures as composer Igor Stravinsky and architect Walter Gropius With, appearing at the time of a seismic revolution in art, it helps to visualize photography with one of the first "modernist" paintings. These other innovative forms of art. By none other than the painter Pablo Picasso The Steerage did not praise the stereotypical spirit and wrote that both he and Stieglitz were acting in the same spirit.

82. Trolley to New Orleans, 1955
The inconvenient truths lead to results for Taylor. When Robert Frank's book The American was released, Practical Photography magazine dismissed the Swiss-born photographer's work as a collection of "meaningless stigma, grain, sloppy exposure, fluffy horizons and general sloppiness". In the mid-1950s 83 images of the book were taken as America, and in the mid-1950s he traveled to several countries, and he changed one country: strictly segregated, but civil rights With the movement of, roots in family and rural tradition are still growing, bowing in the oblivion of urban life. Nowhere is this tension greater than in Trolley-New Orleans, a fleeting moment that explains America's later brutal social order. The picture shot a few weeks before Rosa Parks refused to give up her seat in a bus in Montgomery, Ala., Was unplanned. Frank was shooting a street parade when he saw the trolley passing by.
Moving around, Frank picked up his camera and shot it just before the trolley disappeared from view. The image was used on the cover of early versions of The Americans, criticizing that the work was anti-American. Of course Frank — who became an American citizen in 1963, five years after he became an American citizen — saw his adopted country as he did not imagine himself to be. Half a century later, that candle has made Americans a monument to documentary and street photography. Frank's loose and subjective style freed that form from the conventions of photojournalism established by Life magazine, which he dismissed as "Goddam stories with a beginning and an end."

83. Behind Gare Saint-Lazare, 1932
Speed ​​and instinct were at the heart of Henri Cartier-Bresson's talent as a photographer. And never did he better combine the two in 1932 than on the day he pointed his Leica camera behind the Saint-Lazare train station in Paris. The resulting image is a masterpiece of form and light. As a man crosses the water, a poster on the wall behind him prods the dancers, rips around in the stairway, mimicking pieces of curved metal nearby.
Cartier-Bresson, shooting with an agile 35-millimeter camera and no flash, saw these components all together for a brief moment and clicked their shutter. Timing is everything, and no other photographer was better. The picture would become a classic example of Cartier-Bresson's "decisive moment", his lyrical term for his ability to immortalize a fleeting scene on film. It was a fast, mobile, detail-obsessed style that would help complete all courses in modern photography.

84. Couple in raccoon coat, 1932
For many white Americans in the 1930s, blacks were little more than domestic or sharecroppers. They were ignored, invisible, forgotten. But that was not what James Vanderzee saw when he looked through his camera lens. Seeking to combat the outrageous and widely spread caricards of African Americans in popular culture, VanDerZee not only photographed Harlem weddings, funerals, clubs and families, but also black nationalist Marcus Garvey, dancer Bill "Bojangles." Also extended the likes of Robinson and poet Country Kallan. - Harlem Renaissance leader, artist, writer, mover and driver.
Along with their guaranteed photo studios and neighborhood streets, VanDerZee had created portraits, carefully staged to celebrate the images to project their themes. And nowhere is this pride more evident than in his glowing picture of a beautiful couple sporting raccoon coats next to a Cadillac roadster. The blazing backdrop — sliced ​​by VanDerZee — challenged popular notions about race, class, and success and became an aspirational model for generations of American Americans longing for a full piece of the American dream.

85. Androgyny (6 males + 6 females), 1982
Photography is an ideal medium to record the past. But until Nancy Burson's Androgyny, it was useless to predict the future. Two decades before digital photography enabled resizing, Burson collaborated with MIT scientists to develop a technique that developed their craft into a composite image of the faces of six men and six women. The effect was revolutionary. Pictures can be used to make a sudden appearance of how someone will look, not once.
Burson's overall work led him to develop pioneering software that could withstand the age digitally - for the first time these images could be based on more than projections. The Federal Bureau of Investigation acquired the software for years to create current images of people who went missing years ago, and has been used to locate many missing persons.

86. Untitled (Cowboy), 1989
The idea for a project that challenged the sacred things about ownership in photography came to Richard Prince when he was working in the tear-sheet department on Time Inc. while he decrypted the pages of magazines for archives , With articles appearing to have attracted the attention of Prince. One ad in particular caught his eye: the masculine image of a Marlborough man riding on a horse under blue skies. And so, in a process he came to call refotography, Prince took pictures of the commercials and only crops of this type, except for the iconic cowboy and his surroundings.
Prince took the original photo no less for collectors. In 2005 Untitled (Cowboy) sold for $ 1.2 million at auction, then the highest publicly recorded price for the sale of a contemporary photo. Others were less enthusiastic. Rajkumar was sued by a photographer for using copyrighted pictures, but the courts largely ruled in favor of Prince. This was not his only victory. Prince's rephotography helped create a new form of photography — in the era of photography — that propelled the era of digital partnerships and our understanding of the authenticity and ownership of a photograph.

87. Bricklayer, 1928
August Sander has a definite formula for photography. But that was his purpose. By presenting doctors, farmers, cooks and beggars with the same Stark direction, German-born Sander made everyone go crazy. He said that to show that there is much to be learned from all layers of society, note, "We can tell whether the work is done by anyone or not; We can read on his face whether he is happy or upset, as life inevitably finds its way. “The most famous portrait of a brick sander in Cologne, Germany, is a symbol of that insight. While the work of the laborer is affected by toilets and sweat, he has the effect of pride.
Classical framing reinforces the dignity of the subject, along the lines of the brick vest with the lines of bricks. Which was no small thing for a nation suffering the humiliation of World War I. Sander assembled Bricklayer and his other paintings in 20th-century monumental peoples, the first body to document a culture through photography. Sander's photographs show the importance of the individual, depicting ordinary people for art.

88. The Hague, 1930
Partly politicians have long been willing to weigh the fate of the nation, cigars and brandy. But they were always far from prying eyes. German photojournalist Erich Salomon replaced them all, sliding into a smoke-filled room with a small Leica camera designed to shoot in low light. Nowhere was his skill more on display than in the 1930 meeting at the Hague of German post-World War reforms. There, at 2 pm, Salomon told the foreign ministers openly after several days of talks. This photo created a sensation when it was published in London Graphic. For the first time, the public could see through the doors of power and see the leaders of the world with their guards. Salomon, who died in Auschwitz 12 years later, created backstage political photo journalism.

89. Fort Peck Dam, 1936
It had become the most influential news and photography magazine of its time, and the November 1936 debut issue of LIFE proudly announced that it would cover stories of enormous scope and complexity in a distinctive visual manner. What better thinker, publisher Henry Luce, did than his Fortune magazine photographer Margaret Bourke-White, to shoot LIFE's lead story on the construction of Montana's Fort Peck Dam? There, on the cover with a palace-like structure and a photo essay inside, Bourke-White used illustrations to give an article on the world's largest earth-filled dam a human experience.
She worked with construction men, engineers, not only on "the entire city of Ramshakal," a place "focused on the technical challenges of the massive New Deal project in the basins of the Missouri River." Welders, quack doctors, barmids, fancy ladies. "Bourke-White's cover became the magazine's defining image that helped define a style of photojournalism and then set the tone for other legendary LIFE photographers. As his colleague Carl Mydons, the photo journalist of the Great War put it, Bourke-White's influence was "inept".

90. Untitled Film Still 21, 1978
As she burst into the art scene in the late 1970s, Cindy Sherman was always obscured by the subject Cindy Sherman. Through inventive, deliberately confusing self-portraits taken under familiar but artificial conditions, Sherman introduced photography to post-modern performance art. From her untitled film Stills Series, # 21 ("City Girl") B invokes a frame from the film or the opening scene of a long-canceled television show.
Yet the paintings are entirely Sherman's creations, placing the audience in the role of an unintentional voyeur. Instead of capturing real life in the click of a shutter, Sherman uses photography as an artistic tool to deceive and capture. Her images have become some of the most valuable photographs ever made. By manipulating the audience and creating her own identity, Sherman created a new niche for photography in fine art. And he showed that even photography allows people to do something they are not.

91. Brian Ridley and Lyle Hayter, 1979
There was little room for homosexuality in mainstream American culture in 1979, when Robert Mapplethorpe photographed with Bryan Ridley and Lyle Hayter in their complete Sadomoscopic regalia. At work, gay employees were largely laid off. In many states, it can be criminal to express your love. Mapplethorpe spent 10 years during this era documenting the underground gay S&M scene - a world more deeply shielded from public view. His intimate, high-style portrayals throw it into open relief, perhaps none other than Bryan Ridley and Lyle Hayter. Both men are clad in leather, submissive tied with chains and the leading companion holding his reins in one hand and a riding crop in the other.
Yet men are kept in an otherwise unarmed living room, a sentiment that adds a layer of normality far beyond the limits of most Americans. The photo and series were part of This Blow which opened the doors for a series of photographers and artists to openly examine gay life and sexuality. After nearly a decade, Maplethorpe's work continued to flare up. A display showcasing his paintings of gay S&M scenes led to the Cincinnati Art Museum and its director being accused of obscenity. (Maplethorpe died of AIDS in 1989, a year before the trial began.) The museum and its director were eventually acquitted, showcasing Malepthorp's legacy as a bold pioneer whose work was on public display. Was worthy of.

92. Demi Moore, 1991
Hollywood star Demi Moore was seven months pregnant with her second child when she gave nothing but a cover of Vanity Fair in her birthday suit. Such a performance was not uncommon for Moore, who recorded the birth of her first child with three video cameras. But it was unprecedented for mainstream media outlets. Portatist Annie Liebovitz created an image that celebrated pregnancy, as much as it showed how motherhood could not only be empowering, but also sexy. The magazine's editor, Tina Brown, regarded Moore's acting as a brave declaration, "A new young film star is ready to say, 'I look pretty pregnant,' and not be ashamed of it."
The photo was the first mass-media photo to sexualize pregnancy, and many found it shocking for the newsstand. Some grocery chains refused to share the issue, while others covered it like pornography. It certainly was not. But it was a provocative magazine cover, and it gave only the best cover that could change the culture. Pregnancy was once a private matter, even for public figures. Following Leibovitz's photo, paparazzi snaps of celebrity births, nude maternity shots and baby bumps have become the industry themselves.

93. Cathedral Rock, Yosemite, 1861
While Estelle Adams' earlier decisions never saw Yosemite's jagged peaks, Carton Watkins packed his giant plate camera, tripods, and mules into a velvet tent in a dark room and arrived in the remote California Valley. At the end of the trip, Watkins had 130 negatives who offered the first printed images of the massive mass of yosemite, glacial geology and jaw-dropping expanses. Images, including Watkins' intimate view of Cathedral Rock, aroused the country's power brokers. John Cones, an American senator from California, owned a group of prints and became a campaigner for the work. On June 30, 1864, President Abraham Lincoln signed into law the Yosemite Grant Act, the foundation of the National Park System, which now protects nearly 84 million acres of land.

94. Last Stand of Allende, 1973
Salvador Allende was the first democratically elected Marxist chief, and he took the mandate of changing the country in 1970, with Chilean presidency. They nationalized American-owned companies, transformed estates into cooperatives, cut prices, increased wages and churned money to control changes. But the economy collapsed, inflation rose and unrest increased. In late August 1973, Allende appointed Augusto Pinoshe as commander of the army. Eighteen days later, the Orthodox General overthrew. Allende refused to leave. Armed with an AK-47 and protected by only loyal defenders on his side, he broadcast his last address over the radio, the sound of gunfire in the background.
As the Presidential Palace of Santiago was bombed, Luis Orlando Lagos, the official photographer of Allende, captured one of his final moments. Not long after, Allende committed suicide - though for many decades many believed he was killed by advance troops. Fearing for his life, Lagos fled. During Pinoshe's nearly 17-year rule, 40,000 Chileans were interrogated, tortured, killed or disappeared. Lagos's photo appeared anonymously. It won the 1973 World Press Photo of the Year award and became iconic as an image that immortalized Allende as a hero who happily chose death by dishonesty. It was only after the death of Lagos in 2007 that people came to know the identity of the photographer.

95. Molotov Man, 1979
Susan Meiselas traveled to Nicaragua with an anthropologist's eye in the late 1970s, keen to create a sense of unease between a long-standing Somoza dictatorship and a socialist Sandistas who struggled to end it . She roamed the country for six weeks, documenting the country of poverty, stunning natural beauty and frightening inequality. The work of Midicellus was sympathetic to the Sandinista cause, and he gained the confidence of the revolutionaries as they gradually prevailed in the fighting. The day before President Anastasio Somoza DeBale fled, Meiselas photographed Pablo de Jesus "Barreta" Arause, the last National Guard lobbying the Molotov cocktail at the fort.
After the Sandinistas came to power, the image became the defining symbol of the revolution - a modified dictator topless by a ragtag army of denim-clad fighters, a temporary weapon. Keenly promoted by the Sandinistas, the Molotov man soon became ubiquitous in Nicaragua, appearing on matchbooks, T-shirts, billboards and brochures. This later became a flashpoint in the debate over artistic appropriation when painter Joey Garnett used it as the basis for his 2003 painting Molotov.

96. North Korea, 2013
David Guttenfeller was the chief photographer in Asia for the Associated Press, when it became the first international news organization to open a bureau in North Korea. He began making frequent trips to the country, largely closed to foreign journalists and hidden from public view for nearly 60 years. Gutenfelder enraged official events and stage-managed pageants in Pyongyang, but his eyes wandered beyond guided tours to scenes of daily life. In early 2013, North Korea made 3G connections available to foreigners and suddenly Gutenfelder acquired the ability to share those glimpses with the world in real time. On January 18, 2013, he posted the first images on Instagram using his iPhone from inside the notoriously secretive country.
North Korea has opened another crack. "Meanwhile, for Koreans who do not have access to the same service, the window remains closed." Using the emerging technology of the sharing era, Gutenfelder opened one of the world's most closed societies. He also inspired others going abroad to do so in order to draw a picture of the monotony of everyday life that does not appear in mainstream coverage of a totalitarian state, and to the outside world as yet unambiguous about North Korea. Could give a picture.

97. The Critique, 1943
Arthur Felling had a sharp eye for the unfairness of life. An Austrian immigrant who grew up on the gritty streets of New York City's Lower East Side, Failing was known as VJ - a phonetic take on Ouija - for his unnatural ability to get the perfect picture. Often these were crime, tragedy, and nocturnal New York film-Noorish paintings. In 1943, Vegei flashed flashbacks at the social and economic disparities of his speed graphic camera, which had become sluggish after the Great Depression. Not to orchestrate a shot, he sent his assistant, Lui Liotta, for a Bowery dive in search of a helpless woman. He found an independent subject and took him to the Metropolitan Opera House for his Diamond Jubilee ceremony.
Leota then stands her near the entrance, while Vege watches for the arrival of Mrs. George Washington Kavanuagh and Lady DeCise, two wealthy women who regularly hold society pillars. When Tiara- and the fur-bedded socialites arrive for the opera, VJ hints at Leota giving Spring to the drunken woman. "It was like a blast," Liotta recalled. "I felt that I was blinded by three or four flash exposures." With that flash, VJ tackled fantastic wealth and severe poverty in a style that projected paparazzi's commercial appeal for decades. The photo appeared in Life under the title "The Fashionable People" and the piece told readers how the women's "entry was viewed with disinterest by an onlooker." The Critic later finds out that it was staged to minimize its effects.

98. Chairman Mao floated in Yangtze, 1966
Decades later, the Chinese Communist Party and its nation's chief, Maotse Tung, began to worry about how they would be remembered. The 72-year-old chairman also feared that an attempt would be made to reverse his legacy. And so in July 1966, with an eye towards building his grip on power, Mao dived into the Yangtze River to show the world that he was still in strong health. It was a propaganda coup. The image of that swim, one of the few widely circulated photographs of the leader, was what Mao expected.
Back in Beijing, Mao launched his great proletarian cultural revolution, rallying the masses to purge his rivals. His grip on power was tighter than ever. Mao enlisted the nation's young people and inspired these hardcore Red Guards to "dare to be violent". The madness quickly descended on 750 million lands, as soldiers who broke the chairman's Little Red Book smashed relics and temples and punished alleged traitors. When the Cultural Revolution finally began a decade later, more than a million people were killed.

99. Immersion (Piss Christ), 1987
Andrés Serrano stated that he did not intend his 1987 photograph of a crucifix submerged in his own urine; In fact, when it was first displayed in galleries, no one protested. But in 1989, after the performance of Piss Christ in Virginia, it attracted the attention of an outside clergyman and, soon thereafter, of Congress. Angry that Serrano had received funding from the National Endowment for the Arts (NEA), Senators Al Diamato and Jesse Hales helped the NEA pass a law to consider "common standards of decency" in award grants.
The uproar turned Pir Christ into one of the major fronts in the culture wars of the 1980s and 1990s, along with the work of Serrano's fellow NEA recipient Robert Maplethorpe, and divided the government on the question of whether Had the right to censor art. The battle of Pis Christ has left a dual legacy. The campaign to photograph outside the boundaries of acceptable art contributed to its fame, inspiring other artists to push the boundaries too. But those provocative people are less likely to do so with the help of the government: a 1998 decent-standard law passed by the Supreme Court because of Piss Christ.

100. Oscar Selfie, 2014
It was a moment created for the celebrity-saturated Internet era. In the midst of the 2014 Oscars, host Ellen DeGeneres swept the crowd and encouraged some of the world's biggest stars to take selfies. As Bradley Cooper kept the phone, Meryl Streep, Brad Pitt, Jennifer Lawrence and Kevin Spacey, among others, pressed their faces together and mugged. But it was what DeGeneres did that further transformed small amounts of Hollywood into a transformational image. After the photo was taken by Cooper, Dagness immediately posted it on Twitter, where it was retweeted more than 3 million times, more than any other photo in history.
It was also a notable advertising coup for Samsung. DeGeneres used the company's phone for stunts, and the brand featured prominently in the program's "Spontaneous Moment". Samsung is more aware of planning limits, but its public relations firm acknowledged that it could be worth more than $ 1 billion. It never happens, were it not for the incredible speed and ease with which images can now be spread around the world.It was also a notable advertising coup for Samsung. DeGeneres used the company's phone for stunts, and the brand featured prominently in the program's "Spontaneous Moment". Samsung is more aware of planning limits, but its public relations firm acknowledged that it could be worth more than $ 1 billion. It never happens, were it not for the incredible speed and ease with which images can now be spread around the world.

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