The photo above was taken by AP’s photographer James Altgens. It was taken in Dealey Plaza right after the second shot — first and most controversial of three photos he took of the motorcade after the assassination. In the photo, the president can be seen with his hands near his throat, reacting to being shot (although you can’t really see him, thanks to the mirror).
A controversial fact was that one faint figure in the back by the doorway looked like scrawny Oswald. His presence there was an impossible fact if he was firing bullets at Kennedy. The Warren Commission pored over the image, called witnesses, and decided that Oswald was not in the doorway. Also in Altgen’s photo is the Dal-Tex Building, with its white fire escape in the far background; many conspiracy theories suggested a gunman fired down from the Dal-Tex at the president.
Enough ink and pixel has been spent over the assassination, so here I will just refer to stripper Little Lynn — “not just a footnote to history, but a footnote to a footnote” as Stephen King wrote in his excellent fictional account of the assassination, 11/22/63. Google her name.
Odds on a presidential assassination are very long. But to quote King again, “so are the odds on winning the lottery, but someone wins one every day.”
On my desk was a fascinating volume, Master Photographers, edited by Pat Booth. Booth, a talented artist who found fame thrice-over as a model, photographer, and writer. She was a Sixties icon who appeared on the covers of Vogue and Harpers & Queen, and posed for photographers such as Norman Parkinson and David Bailey before embarking on her own photography career when her modeling life ended before she was 23.
Her second career was kickstarted when her husband bought her a camera and she toured the Indonesian archipelago and New Guinea, happily snapping away at unclad headhunters. She photographed David Bowie and Bianca Jagger, the Queen Mother, and several other famous men and women of the 70s and the 80s. Perhaps her most exciting assignment was on the Haitian dictator Baby Doc Duvalier, who allowed her access mainly because she was a model, blonde and beautiful. Her photos of Baby Doc were warm and intimate. Her political assessment, however, was never too profound. Having found good rapport with the dictator, she was outraged when the reporter who accompanied her produced a hostile article in The Sunday Times.
Later she later an interviewer of photographers and a prolific writer of romance novels. Master Photographers was her seminal contribution to photography, and for this, she even managed to interview reclusive Eve Arnold who never gave interviews in her later life.
His spiked helmet glistened in the sun as he crossed Jaffa Gate astride a white stallion. On October 29, 1898, Kaiser Wilhelm II became the first German Emperor in 670 years to enter Jerusalem. Escorted by spike helmets, bearded Prussian and Turkish cavalry, and heralded under a large Prussian cross, the Kaiser seemed as if he was heading a new crusading army. He believed he was. The German settlers in the Holy Land greeted the imperial couple as modern Templars and the kaiser visited familiar crusader haunts from Constantinople to Beirut, inaugurated a church, and praised the spirit of the Templars.
The visit was frantically covered by a large contingent of journalists and photographers the kaiser brought along. As he visited the city’s Muslim, Christian, and Jewish communities and reviewed the honor guard under a gigantic fireworks in front of the new church he consecrated, it seemed — however briefly — that peaceful religious coexistence in the Holy Land was not beyond reach.
In fact, he came at the apex of the Ottoman peace, under which a significant degree of religious freedom was granted to non-Islamic faiths. In 1900, Christians and Jews combined made up 30 percent of the total population of the Ottoman Empire. Jewish communities thrived, especially in Baghdad (which German companies were trying to link Berlin with in an ambitious rail project. In fact, while the Kaiser’s visit was largely apolitical, he hoped to strengthen diplomatic connections with Constantinople for rail concessions). Wilhelm himself, for all his pompous penchant for Templars, was an Islamophile; he called himself ‘Hajji’ Wilhelm, and claimed he would be the Protector of Islam in a future Germanic Levant. (Punch lampooned him as answering to Saladin’s calls to save Crete from the ‘horrible’ British and French).
That dreamworld was soon to be swept away, first by the First World War and by the Scramble for Middle East that ensued afterwards. In the early 1900s, Christians made up 20% of the Middle East’s population. In 1970s and 80s, many left; today Christians make up no more than 5% of the population even as continuing conflicts in Egypt, Syria, and Lebanon dwindle this percentage even further.
Tributes last week remembered him as the photographer who took the last photos of Robert F. Kennedy as the senator lay dying on the floor of a Californian hotel. But Bill Eppridge, who died on October 3rd, was a photographic icon long before that fateful night in 1968. Throughout the 60s, Eppridge documented for Life magazine the fast-changing America — he was there when the Beatles first came to New York; he photographed Barbara Streisand washing her clothes in a tub; he saw an emotional fraught funeral for a Civil Rights leader murdered by the Klan.
But for this author at least his most powerful work was the photoessay on heroin addicts in New York City which appeared in Life magazine in February 1965. Eppridge and James Mills, associate editor at Life who wrote the accompanying article, spent months trailing and living with two addicts who described themselves as “animals in a world no one knows.” That touching photo essay, gritty and raw well before the words became overused in photographic context, won the 1964 Headliner Award. That story later inspired the motion picture, ‘Panic in Needle Park’ starring Al Pacino and Kitty Winn as John and Karen, “two lives lost to heroin,” in LIFE’s powerful words. [Further photos on Life website].
Here is Eppridge, remembering the assignment:
The writer, Jim Mills, and I started doing research on the heroin culture that had crossed over from subcultures and was quite seriously affecting the white middle classes. We spent three months learning everything we could about it. It took us that long to find a couple, after contacting every agency we could. When we found them, we had to persuade them to do it for free; we couldn’t have paid them – it would just support their habit. I went and lived with them for three months, and tried to be invisible. I’ve been skinny and gaunt all my life, so I fitted in with that society. It got to the point when they just ignored me and didn’t care whether I was there or not. As a matter of fact, I got stopped by the cops more than they did. They wanted to know where I got the cameras.
Often we would lead a story with a question rather than a statement. There is a statement here, but it asks a question… ‘We are animals in a world no one knows’: What is the world? How are the people like animals, they look like a normal couple, crossing the street? It brings the reader in. In the next spread you see who they are: heroin addicts. We did not show the needle very often; we had to be aware of our readership, so we didn’t want to show a lot of gore.
Karen came from a very fine family, on Long Island, but to make money to support her habit, she wasa prostitute. She was a beautiful woman. The police referred to her as the actress. She could change her looks at a whim, but when she did too many drugs, she started to look bad. John came from a very fine family in New Jersey, but to make money, he stole, boosted from cabs – he was a petty thief. Karen found that she couldn’t support her habit anymore, so she checked herself into a hospital, and was able to cut back to a habit that was affordable. I don’t think that’s possible today. I went in with them and photographed things as they happened. None of this was ever set up, I just lived with them and I waited until things happened.
They were on the street looking for a dealer; I looked over their shoulder and there was a gentleman standing there who looked like he didn’t belong. It was a cop, an undercover narc. He and his buddy came along, they spotted Karen and John were addicts, and they proceeded to search them. John was put in jail. I went to the judge and asked if we could photograph him in jail. I don’t know if it’s possible to have that access today. So, John’s in jail and Karen’s got to go and get drugs. She goes to see a dealer.
I was sitting in the lobby of the hotel, waiting for her to come down, and I got a phone call. It was Karen, she said, “You’d better come up here, we got a problem”. Her dealer had overdosed. The guy could have died. It was a big dilemma; should I call the police or should I photograph it? I asked Karen how she felt about it and she said she could bring him round. So I took her word for it and didn’t call 911. And she brought him around. I constantly faced situations that bordered on illegal. It was hard having to make these kinds of decisions, but I think I made the right ones most of the time.
One of the things we highlighted was that this was not a physical addiction as much as a psychological problem. We also said that it was difficult, if not perhaps impossible, to totally deal with this problem. Those addicts still exist in one form or another.
It is unclear how many he really killed: as few as five, as many as eleven. His methods were brutal — throats were slashed; organs eviscerated. For almost three years between 1888 and 1891, he terrorized, fascinated, and repulsed the Victorian London and the world beyond, before fading out of history as abruptly as he had entered it. Many a prominent Victorian was accused of being him, but the Whitechapel Murderer was never actually caught, although the abrupt end of his reign of terror suggested that it was interrupted by his death, incarceration, institutionalization, or deportation.
Unlike all other acknowledged victims of Jack the Ripper, Mary Jane Kelly was killed inside, in her apartment at Miller Court. Her face was mutilated — again something not found in four other ‘official’ Ripper victims. For those reasons, whether Mary Jane Kelly was an actual victim of Jack the Ripper has always been a topic of fervent debates.
On photographic front, too, Mary Jane was unique. Ripper murders unfolded just before Victorian innovations in criminology and forensic sciences were to reach their apogee, and missed fingerprint identification techniques by just a decade. However, all of Ripper’s victims were meticulously photographed in mortuary; Mary Jane was the only victim to be photographed in situ, as she was found on her bed, horribly mutilated. A second photo is more violent and not reproduced here. Had the above photo been in color, it would not have been reproduced here. (The photographer is not known; other mortuary photos found here are allegedly taken by one Joseph Martin.)
Her apartment and most of East End London the killer frequented has been demolished — swept away in the series of slum clearances and reforms ironically spurred by the Ripper killings.
[See all the mortuary photos here. This post is part of a series I am trying out called, I can’t belive there is a photo of that!]
In 1932, Henri Cartier-Bresson set out on a tour of Southern Europe and the Maghreb; this journey with his 35 mm Leica was to be his formative tour that set out the rules of the art for not only the 25-year old photographer but also for a century of photojournalists who followed him.
In Seville in 1933, he took the photo above, later entitled, “Children Playing in Ruins”. Cartier-Bresson was always pithy in descriptions and it was not entirely clear where exactly in the city he took the photo, or how the ruins come to be. His contact sheets reveal that he chose the photos which were among the first he made on that occasion.
There is not much to write about this photo. His usual journalistic eye was at work, depicting youthful vigor sprouting out of decayed detritus. However, soon afterwards, the Spanish Civil War broke out, affecting many cities Cartier-Bresson passed through. Seville was where the first shots were fired, and the photo — with its ruined buildings and crippled children — became associated with the horrors of that war, even though it was made three years earlier.
Andre Breton, the surrealist who was among the first to use photographs in his books, used the photo to illustrate his chapter on the Spanish Civil War as early as 1937 in Mad Love. Many others followed, and even this author believed this was made in the aftermath of the war, not before it.
Lewis Morley, one half of an iconic spread, is dead, aged 88.
It is often said that the pill and Lady Chatterley’s Love made the permissive society. Alas, the sexual revolution also got its fair share of help from indiscretions of John Profumo, a Tory government minister, for no matter what unflappable judges declared over the previous decade, the Profumo Affair proved otherwise with its steamy reveals about the lives of stiff-upper-lipped establishment types.
While it was a more forgiving age where even the most public of individuals — from Edward VIII to John Kennedy to Labour’s own leader Hugh Gaitskell — could rely on the press to overlook their indiscretions, it was Profumo’s misfortune to become entangled with a call girl named Christine Keeler, who might be also seeing a Russian spy. Revealed alongside were salacious tales of demimondaine brothels, lavish parties, two-way mirrors, and rumors about a naked, masked, and illustrious male “host” whose identity was never revealed. It was a watershed moment for both the British politics and British political reporting.
Ms. Keeler posed famously for Lewis Morley, a famed chronicler of the Swinging Sixties. Morley cleared the studio and turned his back so that Keeler could undress, suggesting she sit astride the chair so the back would shield her. As the 30-minute shoot which burnt up 120 rolls of film was coming to end, Morley turned away, only to notice Keeler “in a perfect position”. The most amours photo was literally the last shot
Morley did not have fond memories of the day. “I never found her sexy,” he said. “She reminded me too much of Vera Lynn!” And as he came to resent its overshadowing of his other work, he called it “that fucking Keeler shot” and parodied it by photographing himself in the same pose with a millstone around his neck. He however signed the chair — a thinly-masked Arne Jacobsen copy — and sold it to the V&A while the National Portrait Gallery bought all original photos.
The photo above by Antoine Claudet was of a figure one would not normally associate with photography or modernity: the Duke of Wellington. Claudet was a disciple of Louis Daguerre, who became active in London and was appointed a court photographer to both Queen Victoria and Napoleon III. Remarkably little of his work survives, for most of them were lost in a fire in his studio shortly after his death.
The Iron Duke was a remarkable man. After his military victories, he was twice the premier of Britain, made a duke in Spain and Portugal, a prince in the Netherlands, and was honored with the topmost military rank by seven continental powers — not to mention giving his name to a dish and an item of clothing.
The photo itself taken in 1844 was a remarkable bridge across centuries. Memories of Elizabeth the First or the English Civil War were as fresh and recent to Wellington (born 1769) as Wellington or Lincoln is to us. The photo was different from latter paintings and engravings based upon it — unlike the kindly old man which smiled down from the paintings, the photo showed a crankier, more determined Wellington — a face you truly expect from the Victor of Waterloo.
Past is a foreign country: they do things differently there. From my stuffy desk, no past seems more foreign and different than the one lived by my parents and many of their compatriots: counter-culture of the 1960s, cobblestone-hurling revolts that rocked many Western democracies, hippies hitchhiking from Europe to India, across places like Syria, Iran, and Afghanistan. Alien lands indeed.
In 1968, Dennis Stock made an equally surreal journey. Stock, an esteemed photographer of jazz music scene, travelled across California at the height of hippie culture and free love. The resulting book, knowingly named California Trip, was “an ode to liberty”, and no photo encapsulated this zeitgeist more than the above photo taken at Venice Beach Rock Festival, which graced the cover of Reporters Without Borders’ 25th anniversary book.
In his contact sheets, you can see the spontaneity. When an unknown girl, her hands lilting and writhing, jumped in front of Stock’s lens, he took only four photos, but the moment’s lyrical energy and joie de vivre shine through the negatives. Stock remembers his trip: “I was attracted by the hippie movement, that was defined by two main principles: caring about others, and a taste for adventure. My pictures of hippies are about the search of a better life. I was drawn by what they tried to achieve. The hippy instinct was countercultural, it said ‘Let’s try to go back to basics’. Hippydom, in a sense, is a return of teenage rebellion, a new, stronger rebellion. Each one of us has a period of rebellion at a certain moment of their lives.”
In a later interview, he added: “Every idea that Western man explores in his pursuit of the best of all possible worlds will be searched at the head lab -California. Technological and spiritual quests vibrate throughout the state, intermingling, often creating the ethereal. It is from this freewheeling potpourri of search that the momentary ensembles in space spring, presenting to the photographer his surrealistic image. However, to the Californians it is all so ordinary, almost mundane. The sensibility of these conditioned victims is where it is all at, right, left, up and down. Our future is being determined in the lab out West. There, a recent trip blew my mind across this state of being, as I collected images along the way to remember the transient quality of the Big Trip.”
[Interviews are transcipted from the Independent].
Photos from Syria are too gruesome to publish. Clicking on the black square will take you to a reddit site which has complied them. Caution advised.
Last week, there were allegations that President Assad has gassed his own citizens. A U.N. team sent to inspect the site were delayed and attacked.
To the naysayers who doubt that Assad would not have used chemical weapons in the twilight days of a civil war that he was gradually winning, we have this to say: the last century was filled with despots who were not rational — Hitler, Stalin, Pol Pot — and mistakes had been made trying to rationalize their actions. Even the Allies used a heavy-handed approach in firebombing Dresden towards the end of the Second World War, motivated by revenge, war-weariness, and need for the enemy’s morale defeat. In such light, Assad’s motivations become clearer.
By repeatedly emphasizing a hypothetical ‘red line’ over chemical weapons (while ignoring other inhumanities in Syria, from shelling civilian quarters to using cluster bombs and landmines), the West has painted itself into an intractable corner. To do nothing will undermine its credibility and embolden Assad (and many a tyrant observing how the West will respond to this crisis). On the other hand, it is dangerous to rush into action; in Tunisia, in Egypt, and in Libya where the West intervened, the results of the Arab Spring are increasingly murky, and for Britain and the United States, at least, it will be their fourth military action in the Middle East in twelve years, and the public is growing weary.
This house had supported the Syrian rebels throughout 2011 and 2012. However, it now seems the rebels are dominated by hard-core fighters, who tend to be Islamist Manicheans, under whom, we reckon, whatever little religious freedom tolerated under President Assad, will evaporate. Therefore, this house advocates for an UN-brokered ceasefire, guaranteed by an international fleet in the Mediterranean, while the U.N chemical weapons inspectors do their job on the ground. Out of this ashheap, we believe a multi-ethnic, multi-cultural Syria can still be salvaged.
It was one of the more playful spreads in Life magazine. In its December 2, 1957 issue, the magazine featured a one-page story, humorously titled ‘High-paid llama in big city’. The story covered different television animals—from dogs and cats to a kangaroo and a miniature bull—but its highlight was Linda the Llama, as photographed by Inge Morath.
The caption read the llama was enroute to make a television appearance, but Morath recalled differently in her notes: “Linda, the Lama [sic] rides home via Broadway. She is just coming home from a television show in New York’s A.B.C. studios and now takes a relaxed and long-necked look at the lights of one of the world’s most famous streets.” Her contact sheets showed that Morath was already photographing the llama inside the studio, and the Inge Morath Foundation suggests the photographer might have acquainted herself with the llama and the trainer at least a year ahead of their photo-session.
The photo is undoubtedly one of the most famous photos by Inge Morath, one of the greatest photographers of her generation, and a typical one for her too. Her photographs were often surreal – Chinese soldiers climbing a large statue of Buddha, a driver with a poodle on his passenger seat, frantically dancing girls from Iraq to Iberia – a whimsy shaped by her experiences growing up in Austria during and after the Second World War: “Everyone was dead or half dead. I walked by dead horses, women with dead babies in their arms. I can’t photograph war for this reason.”
After the war, she worked for the Picture Post in London and Magnum in Paris, where she was an assistant to ever-demanding Henri Cartier-Bresson. She travelled to Iran for Holiday magazine sporting the traditional chador and traversing the vast country alone most of the time. In 1956 – a year before she took the llama photo – Morath came to New York for the first time, although her arrival did not go smoothly. At the height of the Red Scare, she was detained at the airport for carrying a book published by a leftish bookshop. Later, she settled in America, marrying the playwright Arthur Miller, whom she met on the set of The Misfits, whilst she was covering his first wife, Marilyn Monroe.
Here are a few photos from the last four years you might have missed. From left to right, top to bottom:
Father Browne takes last photos onboard HMS Titanic, 1912; Agustin Casasola witnesses the death of Zapata in Mexico, 1919; Erich Salomon sneaks into the U.S. Supreme Court, 1932; King Edward and Mrs. Wallis Simpson attends a London Nightclub, 1936; Henri Cartier-Bresson sees a denunciation of a Gestapo informant at Dessau, 1945; Richard Peter climbs above the desolate ruins of bombed Dresden, 1945; Watson and Crick sits for their first post-DNA discovery photo, 1953; Rashid Talukdar documents the horrors of the Bangladesh secession, 1971; Jean Gaumy becomes the first Western photographer to access post-Revolutionary Iran, 1989.
[Use Searchbar for detailed posts. I am too lazy to link them here individually.]