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Didn't realize automobiles knew so much. Today's "American made" cars have an identity crisis, since so much of their innards are made overseas.
It's fair to say that the late model Naomi Sims (1948-2009) had really arrived when she appeared on the cover of the October 17, 1969 edition of Life magazine for a cover story about a generation of black models taking center stage - a phenomenon of black women dominating the modeling profession, which would have been unthinkable a decade earlier.
When Ms. Sims posed for the cover of Life, she wore her hair pulled back and tied in an intricate ponytail that was wrapped in a curl and draped across her neck. This AI image undoes her hair and has it draped down either side of her face and on her bare shoulders.
Had she left her hair undone like this, Life would have sold twice as many copies of this issue.
Malcolm X, Chicago, Illinois, USA, 1962
Eve Arnold
Gelatin silver print
Eve Arnold was commissioned by LIFE magazine to photograph the Black nationalist organisation, Nation of Islam. She gradually built a rapport with Malcolm X, who became a prominent Civil Rights activist before his assassination in 1965. Made during a visit to Black-owned businesses in Chicago, this portrait reveals Malcolm's acute awareness of his media image.*
Taken from the exhibition
Fragile Beauty: Photographs from the Sir Elton John and David Furnish Collection
(May 2024 to January 2025)
Showcasing over 300 rare prints from 140 photographers, Fragile Beauty is a major presentation of 20th- and 21st-century photography on loan from the private collection of Sir Elton John and David Furnish.
Selected from their collection of over 7,000 images, the photographs (many of which will be on public display for the first time) are era-defining images which explore the connection between strength and vulnerability inherent in the human condition.
Historically made from candle wax and now frequently created using PVC, the process is incredibly bespoke, with each item being made to order for individual restaurants. Having evolved beyond menu promotion, the process has now become its own form of cultural expression in Japan, and food replicas can be found on goods from keyrings to phone cases, some of which will be stocked at the Shop at Japan House London.
The exhibition covers the period from 1950 to the present day, bringing together an unrivalled selection of the world's leading photographers to tell the story of modern and contemporary photography. Celebrated works include a monumental installation of 149 Nan Goldin prints from her Thanksgiving series, as well as images from Robert Mapplethorpe, Cindy Sherman, William Eggleston, Diane Arbus, Sally Mann, Zanele Muholi, Ai Weiwei, Carrie Mae Weems and others.
Brand new acquisitions are also on display by Tyler Mitchell, Trevor Paglen and An-My Lê. These join some of the very first acquisitions made by John, including fashion photographs by Horst P. Horst, Irving Penn and Herb Ritts.
Marking 30 years of collecting, the exhibition celebrates Elton John and David Furnish's passion for photography and reflects their personal taste and unique eye as collectors. Across eight thematic sections, Fragile Beauty explores themes such as fashion, reportage, celebrity, the male body, and American photography. Portraits of stars from stage and screen also feature, including photography of Aretha Franklin, Elizabeth Taylor, The Beatles, and Chet Baker. Many photographs in the exhibition respond to themes of persecution, resistance, and key moments in history, including images of the Civil Rights movement of the 1960s, AIDS activism of the 1980s and the events of 11 September 2001.
[*V&A]
Taken in the V&A Museum
Malcolm X, Chicago, Illinois, USA, 1962
Eve Arnold
Gelatin silver print
Eve Arnold was commissioned by LIFE magazine to photograph the Black nationalist organisation, Nation of Islam. She gradually built a rapport with Malcolm X, who became a prominent Civil Rights activist before his assassination in 1965. Made during a visit to Black-owned businesses in Chicago, this portrait reveals Malcolm's acute awareness of his media image.*
Taken from the exhibition
Fragile Beauty: Photographs from the Sir Elton John and David Furnish Collection
(May 2024 to January 2025)
Showcasing over 300 rare prints from 140 photographers, Fragile Beauty is a major presentation of 20th- and 21st-century photography on loan from the private collection of Sir Elton John and David Furnish.
Selected from their collection of over 7,000 images, the photographs (many of which will be on public display for the first time) are era-defining images which explore the connection between strength and vulnerability inherent in the human condition.
Historically made from candle wax and now frequently created using PVC, the process is incredibly bespoke, with each item being made to order for individual restaurants. Having evolved beyond menu promotion, the process has now become its own form of cultural expression in Japan, and food replicas can be found on goods from keyrings to phone cases, some of which will be stocked at the Shop at Japan House London.
The exhibition covers the period from 1950 to the present day, bringing together an unrivalled selection of the world's leading photographers to tell the story of modern and contemporary photography. Celebrated works include a monumental installation of 149 Nan Goldin prints from her Thanksgiving series, as well as images from Robert Mapplethorpe, Cindy Sherman, William Eggleston, Diane Arbus, Sally Mann, Zanele Muholi, Ai Weiwei, Carrie Mae Weems and others.
Brand new acquisitions are also on display by Tyler Mitchell, Trevor Paglen and An-My Lê. These join some of the very first acquisitions made by John, including fashion photographs by Horst P. Horst, Irving Penn and Herb Ritts.
Marking 30 years of collecting, the exhibition celebrates Elton John and David Furnish's passion for photography and reflects their personal taste and unique eye as collectors. Across eight thematic sections, Fragile Beauty explores themes such as fashion, reportage, celebrity, the male body, and American photography. Portraits of stars from stage and screen also feature, including photography of Aretha Franklin, Elizabeth Taylor, The Beatles, and Chet Baker. Many photographs in the exhibition respond to themes of persecution, resistance, and key moments in history, including images of the Civil Rights movement of the 1960s, AIDS activism of the 1980s and the events of 11 September 2001.
[*V&A]
Taken in the V&A Museum
Like, how? I'd like to know since Bufferin IS aspirin plus a buffering compound. Could we have a journal citation for those clinical studies?
According to Legend, in Tokyo in June 1950, a young Japanese photographer, Jun Miki, a part-timer for ‘Life’ magazine showed two American photojournalists, David Duncan and Horace Bristol, some prints he had taken with a barely known ‘Nikkor’ lens on a Leica 35mm camera. They were both sufficiently impressed to arrange for a trip for the three of them to the nearby Nippon Kogaku factory where they were given a demonstration and a comparison between the Nikkors and the lenses made by Leitz and Zeiss.
Duncan was so convinced by the superiority of the Nikkors over the German lenses of that time that he purchased a set. When the Korean War broke out a few days later he used them on his Leica bodies throughout his coverage of the war.
His negatives were sent back to Life’s New York office for printing and publication. The technicians asked if he was using a plate camera and considered that the sharpness of the photographs was better than anything they had previously seen from 35mm negatives.
Other Life photojournalists started using Nikkors and some purchased Nippon Kogaku’s rangefinder Nikon Cameras which they found to be more reliable in the severe Korean winter.
Experts examined both the camera and lenses and in December the New York Times ran an article in praise of the equipment.
A myth developed that Life magazine was so impressed with the results that they ordered a special batch of black painted Nikon S bodies for their staff. The black finish made them less conspicuous on the battlefield and some had larger wind-on and rewind knobs for easier handling with gloves.
Continued ............