影响人类历史的照片（下）

Earthrise 1968
The late adventure photographer Galen Rowell called it “the most influential environmental photograph ever taken.” Captured on Christmas Eve, 1968, near the end of one of the most tumultuous years the U.S. had ever known, the Earthrise photograph inspired contemplation of our fragile existence and our place in the cosmos. For years, Frank Borman and Bill Anders of the Apollo 8 mission each thought that he was the one who took the picture. An investigation of two rolls of film seemed to prove Borman had taken an earlier, black-and-white frame, and the iconic color photograph, which later graced a U.S. postage stamp and several book covers, was by Anders.

Michael Dukakis, 1988 - Another Landmark Image
After Gary Hart was photographed with a model (no, not his wife) in 1988 on a boat dubbed MonkeyBusiness, Massachusetts Governor Michael Dukakis became the Democrat‘s choice to run for President against George Bush. At a General Dynamics plant in Michigan, the Duke wanted to show he was no softie on defense, so took a spin in a tank. Compared with the dashing WWII pilot Bush, the little Dukakis came off a clown, and the photo op blew up in his face.

Cuban Missile Crisis 1962
This photograph. taken on November 10, 1962 (from less than 500 ft. altitude at a speed of 713 mph). Clearly shown are Soviet-built SA-2 surface-to-air missiles (SAMs) in place at launch sites. It is claimed that this was President Kennedy‘s favorite photo of the installations, and was mounted in the oval office. He used this photo to demonstrate the nature of the threat that the offensive weapons provided. The pattern of dots surrounding the sites are claimed to be camouflage nets..

Cuban Missile Crisis 1962
On October 22, 1962, after accusing the U.S.S.R. of installing nuclear missiles on Cuba, President John F. Kennedy ordered a blockade of the island. When the Soviet ambassador to the U.N. refused to deny the charge, U.S. ambassador Adlai Stevenson confronted him with these photos of missile sites taken by the high-flying spy plane, the U-2, and the Soviets were compelled to back down. Thepresentation of seemingly incontrovertible evidence would become known as an “Adlai Stevenson moment.” Robert F. Kennedy later admitted that he and his brother found the grainy images quite baffling, and banked on the interpretation proffered by the CIA: “I, for one, had to take their word for it.”

South of the DMZ 1966
Contrary to the constraints that were put upon the press in subsequent conflicts, and even to the embedded program used in the recent Iraqi war, correspondents and photographers in Vietnam could, as Walter Cronkite wrote in LIFE, “accompany troops to wherever they could hitch a ride, and there was no censorship . . . That system—or lack of one—kept the American public well informed of our soldiers’ problems, their setbacks and their heroism.” Reaching Out is a quintessential example of the powerful imagery that came out of Vietnam. “The color photographs of tormented Vietnamese villagers and wounded American conscripts that Larry Burrows took and LIFE published, starting in 1962, certainly fortified the outcry against the American presence in Vietnam,” Susan Sontag wrote in her essay “Looking at War,” in the December 9, 2002, New Yorker. “Burrows was the first important photographer to do a whole war in color—another gain in verisimilitude and shock.” Burrows was killed when the helicopter he was riding in was shot down over Laos in 1971.

Breaker Boys1910
What Charles Dickens did with words for the underage toilers of London, Lewis Hine did with photographs for the youthful laborers in the United States. In 1908 the National Child Labor Committee was already campaigning to put the nation’s two million young workers back in school when the group hired Hine. The Wisconsin native traveled to half the states, capturing images of children working in mines, mills and on the streets. Here he has photographed “breaker boys,” whose job was to separate coal from slate, in South Pittston, Pa. Once again, pictures swayed the public in a way cold statistics had not, and the country enacted laws banning child labor.

Nagasaki 1945
Nothing like the mushroom cloud had ever been seen, not by the general public. It was a suitably awesome image for the power unleashed below. On August 6 the first atomic bomb killed an estimated 80,000 people in the Japanese city of Hiroshima. There was no quick surrender, and three days later a second bomb exploded 500 meters above the ground in Nagasaki. The blast wind, heat rays reaching several thousand degrees and radiation destroyed anything even remotely nearby, killing or injuring as many as 150,000 at the time, and more later. As opposed to the very personal images of war that had brought the pain home, the ones from Japan that were most shocking were those from a longer perspective, showing the enormity of what had occurred.

Birmingham 1963
For years, Birmingham, Ala., was considered “the South’s toughest city,” home to a large black population and a dominant class of whites that met in frequent, open hostility. Birmingham in 1963 had become the cause célèbre of the black civil rights movement as nonviolent demonstrators led by Rev. Martin Luther King Jr. repeatedly faced jail, dogs and high-velocity hoses in their tireless quest to topple segregation. This picture of people being pummeled by a liquid battering ram rallied support for the plight of the blacks.

Dead on the Beach 1943
When LIFE ran this stark, haunting photograph of a beach in Papua New Guinea on September 20, 1943, the magazine felt compelled to ask in an adjacent full-page editorial, “Why print this picture, anyway, of three American boys dead upon an alien shore?” Among the reasons: “words are never enough . . . words do not exist to make us see, or know, or feel what it is like, what actually happens.” But there was more to it than that; LIFE was actually publishing in concert with government wishes. President Franklin D. Roosevelt was convinced that Americans had grown too complacent about the war, so he lifted the ban on images depicting U.S. casualties. Strock’s picture and others that followed in LIFE and elsewhere had the desired effect. The public, shocked by combat’s grim realities, was instilled with yet greater resolve to win the war.

Anne Frank 1941
Six million Jews died in the Holocaust. For many throughout the world, one teenage girl gave them a story and a face. She was Anne Frank, the adolescent who, according to her diary, retained her hope and humanity as she hid with her family in an Amsterdam attic. In 1944 the Nazis, acting on a tip, arrested the Franks; Anne and her sister died of typhus at Bergen-Belsen only a month before the camp was liberated. The world came to know her through her words and through this ordinary portrait of a girl of 14. She stares with big eyes, wearing an enigmatic expression, gazing at a future that the viewer knows will never come.