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The Great LIFE Photographers depicts the evolution of photography
from the early 1940s until the end of the 20th century.
The photo is of George Silk using some of his equipment on a road in Old Lyme, Connecticut. George was friends with Henry Struck, who was a friend of my family.
I never got to meet George, but I did get to meet and spend much time with Henry Struck.
Photo ©2010 Spider N. Mann
Date of photo itself is uncertain.
Photo was taken by my Great Aunt, Patricia Rosene.
I came across this photo of artist Aaron Bohrod surrounded by a patch of gray while browsing the Life magazine archives in Google Image Search. Bohrod was commissioned by Life to cover World War II, the last time Life routinely used artists as well as photographers to cover a war.
The image provoked an intense pang of nostalgia for the media's earlier, analog way of working with photos. The tweaks that today are done routinely in Photoshop were done in the darkroom, or by retouching the photo itself, or both. What seems to have happened here is that the magazine needed a headshot of Bohrod (something that comes up a lot more often than using a complete photograph) and a photo retoucher was assigned to paint the gray box around Bohrod's head and shoulders. He seems to have used a brush first and then an airbrush to blend the background into a flat, neutral gray, leaving that ghostly halo around the outside of the box. Then a halftone was made of just the head and shoulders, and the photo was returned to the files, the only way to preserve it for future use. Today that would all be accomplished by simply selecting the head and shoulders on a screen and pasting it onto a neutral background.
The idea that all those millions of Life photographs could someday be stored in a few boxes known as hard drives would have seemed like pure science fiction -- not to mention the idea that any of them could be called up by a few keystrokes by anyone, anywhere.
When I started in journalism, newspapers everywhere still had physical file cabinets filled with artifacts like this. The more an image had been used, the more marks of use it would have, ranging from grease pencil crop marks in the margins to traces of the retoucher's brush, which always looked so artificial on the glossy print, but which usually looked perfectly natural in the final halftone. In other words, each image showed traces of its movement through the collaborative enterprise that was involved in its transformation into print and mass reproduction.
Today, the only traces are ghosts in a machine. We've gained a lot, but we've lost something, too.
My mom is one of the on-lookers, the one in the polka dotted dress. Based on her labeling, it's a clipping from LIFE magazine. No date, probably 1952-53?
1970 jumpsuits and vinyl boots by Rudi Gernreich, unisex ensembles envisioned for the Year 2000, as depicted in "Life" magazine
Installation view of "Items: Is Fashion Modern?"
Museum of Modern Art
New York, New York
October 1, 2017 - January 28, 2018
Write away for a free pamphlet...Rice Ideas Men Like. No foolin'!
Advertisements from the March 13, 1970 edition of Life Magazine.
2010 San Diego, CA.
The 'famous kiss'!
(From Wiki-pedia): V-J Day in Times Square is a photograph by Alfred Eisenstaedt that portrays an American sailor kissing a young woman in a white dress on V-J Day in Times Square on August 14, 1945. The photograph was originally published a week later in Life magazine among many photographs of celebrations around the country that were presented in a twelve-page section called Victory. A two-page spread faces three other kissing poses among celebrators in Washington, D.C., Kansas City, and Miami, Florida opposite Eisenstaedt's, which is given a full page display. Kissing was a favorite pose encouraged by media photographers of service personnel during the war, but Eisenstaedt was photographing a spontaneous event that occurred in Times Square as the announcement of the end of the war on Japan was made by President Truman at seven o'clock. Similar jubilation spread quickly—with the news.
The photograph is known under various titles, such as V-J Day in Times Square and V-Day.
Barnett, L. "The World We Live In: Part IV. The Canopy Of Air" (Jun. 8, 1953) Life, Vol. 34, No. 23
archive.org/details/Life-1953-06-08-Vol-34-No-23/mode/1up
For more information about the articles, please visit:
en.wikipedia.org/wiki/The_World_We_Live_In_(Life_magazine)
Set---05112015--Vienna,Austria..
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David Rubinger,Fotojournalist, bei einem Publikumsgespräch der "Wiener Vorlesungen" im jüdischen Museum erzählt über seine Kindheit in Wien..
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David Rubinger,photojounalist, talking about his youth in vienna.
Life Magazine 11-17-1958
No sexy babe is sprawled on the hood of this one. No wonder it went out of business.