13 Photographs That Changed the World.

这篇图文并茂的文章综合整理的非常不错，里面虽然不可能全部映射世界的每个角落，但这13位摄影师作出的贡献已是比较全面了。
1:1968年2月1日，EddieAdams与美国全国广播公司的一支摄像组成员目睹一伙南越士兵把一名双手被反拷的越南GCD人带到街头，一名南越警官阮隆上尉在未经任何审讯的情况下，一言不发地拔出手枪，直接对着这名越南GCD人的头部开枪。亚当斯手中的相机就拍下了这一幕。纪录了20世纪人类生活中最残酷的一面.
2:罗伯·卡帕（Robert Capa ）是有史以来最有名的战地记者，在二次世界大战期间的各个战区——西班牙内战、日本侵华、北亚战争、意大利战争、诺曼第登陆、法国解放战—,看他的照片仿佛可以听到子弹疾飞、炮弹隆隆的声响，每一帧都是人类愚 蠢行为的明证。
3：摄影师朵洛西亚.蓝吉（Dorothea Lange）1936年拍摄的一张有名的照片[流浪的母亲（Migrant Mother）]蓝吉把她的照片寄给国内各地的报社让报纸免费刊登。她所拍攝的影像很快就成为经济大萧条的象征。
4:美国摄影家马修·布雷迪（Mathew Brady）以写实主义的方式拍摄南北战争。为世人留下了7000多个那个时期拍摄的战火纷飞中的珍贵照片。让民众得以随着战事的开展目击南北冲突，从而体认战争的毁灭性。
5: 1945年8月15日，日本宣布投降的消息传到纽约，在纽约百老汇的街头，一个年轻水兵抓住从身边经过的每一位妇女热吻的镜头。后来，这幅由阿尔弗雷德·艾森士塔特（Alfred Eisenstaedt）拍摄的这张明为（V-J Day Kiss）的照片被生活杂志刊登并广为流传。但也有人称此照片为后来拍摄而非当天实景。不过无论如何，这幅照片都给世人留下了深刻的印象。
6：由美国摄影师Murray Becker和其它摄影师拍摄下来的1937年5月6日，德国飞艇“兴登堡”号飞艇在在美国莱克赫斯特的海军航空站803英尺的高空中爆炸了，在1000多名观众的目击下，它在32秒钟内就烧成了一个空架子，97名乘客和乘务人员中至少23人死亡，也是商业航空史上最严重也是目击者最多的灾难。
7：Ansel Adams安塞尔.亚当斯用“纯粹”的摄影艺术去表现真实美丽的世界，唤起摄影家对纯粹摄影艺术表现特性和伟大潜力的注意。他翻越在加利福尼亚东部的金斯峡谷区，把大自然表现得特别深刻而有气魄。从而用崭新的方式表达出风光的美感。
8：照片是由阿尔博塔(FreddyAlborta)拍摄。切格瓦拉1967年10月被美国支持的玻利维亚政府军处决后，阿尔博塔是获准进入Vallegrande村庄的医院目睹他遗体的少数人之一。 玻利维亚人阿尔博塔拍摄了数十张切格瓦拉遗体的照片，但仅发表过寥寥数张。其中一张是一名玻利维亚將领手指躺在担架上的尸体，成为切格瓦拉死亡事件的经典意象。
9：由合众社摄影师Arthur Sasse, 1951年拍摄的这幅经典照片，已经满头白发的他还调皮地吐着舌头。爱因斯坦用他的思想给科学带来了彻底变革，并改变了世界”。也让人们从照片中更加领略到这位智者的可爱。
10：匈牙利摄影家飞利浦.哈尔斯曼（Philippe Halsman） 1948年，由于达利对漂浮原子的专注，使他拍摄了这张著名的萨尔瓦多.达利（Salvador Dali）。达里的超现实主义绘画在多维空间内富含着时间的流逝。利用电子闪光灯的超短时间曝光，哈尔斯曼以超越裸眼的手法创造了一幅超现实的影像。哈尔斯曼以相对论的视觉含义非常恰当地表达了一个全神贯注的超现实主义画家。
11：1934年4月，伦敦医生(IanWetherell)威尔逊途经尼斯湖，正好发现水怪在湖中游动。威尔逊连忙用相机拍下了水怪的照片，照片虽不十分清晰，但还是明确的显出了水怪的特征：长长的脖子和扁小的头部，看上去完全不像任何一种的水生动物，而很像早七千多万年前灭绝的巨大爬行动物——蛇颈龙。因此这张照片刊出后，很快就引起了举世轰动。
直到1994年3月14日加拿大出版的环球邮报，头版刊登了一条路透从伦敦发来的消息，参与伪造这张照片的克里斯蒂安·斯堡林（Christian Spuring）在头年11月临终前，为此而忏悔，道出了真情。原来这张照片中的怪物形象，是用玩具潜艇加上按照海蛇的模样用软木作成头和长脖子装配起来，再放到湖中去拍照产生的效果.
12：伯克–怀特（MARGARET BOURKE-WHITE). M·怀特在印度期间拍摄的最著名作品是《斋日里的甘地》。在这幅作品中，怀特利用柔和的影调表现甘地赤膊纺纱时的情景，把一个恭谦、和善，但坚决抵制英国殖民统治的普普通通的人的形象展现在人们的眼前。 怀特的–生充满传奇般的经历。她几番出生入死，执意追求轰轰烈烈的生活。在纪录历史的同时，她自己也成为一个历史人物。
13:曼·雷(Le Violon d’Ingres)（安格尔的小提琴）曾以职业时装摄影和人像摄影为生，同时开始抽象摄影的技术实验，以摄影领域中不知疲倦的摄影技术试验家著称。这是一张广为流传的作品，采用了叠印的方法，将一对小提琴的符号放到了女性酷似提琴的背影上。作品不仅证明了曼·雷在摄影技术实践上的创新能力，也显示了作为一个优秀摄影家所具备的视觉敏感和意识。
Any picture can speak 1,000 words, but only a selectfew say something poignant enough to galvanize an entire society. Thefollowing photographs screamed so loudly that the entire world stoppedto take notice.
1. The Photograph That Raised the Photojournalistic Stakes:
"Omaha Beach, Normandy, France"
Robert Capa, 1944

"If your pictures aren’t good enough," war photographer Robert Capaused to say, "you aren’t close enough." Words to die by, yes, but theman knew of what he spoke. After all, his most memorable shots weretaken on the morning of D-Day, June 6, 1944, when he landed alongsidethe first waves of infantry at Omaha Beach.
Caught under heavy fire, Capa dove for what little cover he couldfind, then shot all the film in his camera, and got out - just barely.He escaped with his life, but not much else. Of the four rolls of filmCapa took of the horrific D-Day battle, all but 11 exposures wereruined by an overeager lab assistant, who melted the film in his rushto develop it. (He was trying to meet the deadline for the next issueof Life magazine.)
In an ironic twist, however, that same mistake gave the fewsurviving exposures their famously surreal look ("slightly out offocus," Life incorrectly explained upon printing them). Morethan 50 years later, director Steven Spielberg would go to greatlengths to reproduce the look of that "error" for his harrowing D-Daylanding sequence in "Saving Private Ryan," even stripping the coatingfrom his camera lenses to echo Capa’s notorious shots.
2. The Photograph That Gave a Face to the Great Depression
"Migrant Mother"
Dorothea Lange, 1936

As era-defining photographs go, "Migrant Mother" pretty much takes the cake. For many, Florence Owens Thompson is theface of the Great Depression, thanks to legendary shutterbug DorotheaLange. Lange captured the image while visiting a dusty Californiapea-pickers’ camp in February 1936, and in doing so, captured theresilience of a proud nation facing desperate times.
Unbelievably, Thompson’s story is as compelling as her portrait.Just 32 years old when Lange approached her ("as if drawn by a magnet,"Lange said). Thompson was a mother of seven who’d lost her husband totuberculosis. Stranded at a migratory labor farm in Nipomo, Calif. herfamily sustained themselves on birds killed by her kids and vegetablestaken from a nearby field - as meager a living as any earned by theother 2,500 workers there. The photo’s impact was staggering.Reproduced in newspapers everywhere, Thompson’s haunted face triggeredan immediate public outcry, quickly prompting politicos from thefederal Resettlement Administration to send food and supplies. Sadly,however, Thompson and her family had already moved on, receiving nary awedge of government cheese for their high-profile misery. In fact, noone knew the identity of the photographed woman until Thompson revealedherself years later in a 1976 newspaper article.
3. The Photograph That Brought the Battlefield Home
"Federal Dead on the Field of Battle of First Day, Gettysburg, Pennsylvania"
Mathew Brady, 1863

As one of the world’s first war photographers, Mathew Brady didn’t start
out having as action-packed a career as you might think. A successfuldaguerreotypist and a distinguished gentleman, Brady was known for hisportraits of notable people such as Abraham Lincoln and Robert E. Lee.In other words, he was hardly a photojournalist in the trenches.
In fact, Brady had everything to lose by making a career move - hismoney, his business, and quite possibly his life. Nevertheless, hedecided to risk it all and follow the Union Army into battle with hiscamera, saying, "A spirit in my feet said, ‘Go!’" And go he did - atleast until he got a good look at the pointy end of a Confederatebayonet.
After narrowly escaping capture at the first Battle of Bull Run,Brady’s chatty feet quieted down a bit, and he began sending assistantsin his place. In the span of only a few years, Brady and his team shotmore than 7,000 photographs - an astounding number when you considerthat developing a single plate required a horse-drawn-wagon-full ofcumbersome equipment and noxious chemicals. Not exactly what you’d call"point-and-shoot."
Tethered as he was to his equine-powered darkroom and with filmspeeds being much slower then, Brady produced war photos that areunderstandably light on the action and heavy on the aftermath. Still,they mark the first time Americans were so immediately confronted withthe grim realities of the battlefield.
4. The Photograph That Ended a War But Ruined a Life
"Murder of a Vietcong by Saigon Police Chief"
Eddie Adams, 1968

"Still photographs are the most powerful weapon in the world," APphotojournalist Eddie Adams once wrote. A fitting quote for Adams,because his 1968 photograph of an officer shooting a handcuffedprisoner in the head at point-blank range not only earned him aPulitzer Prize in 1969, but also went a long way toward souringAmericans’ attitudes about the Vietnam War.
For all the image’s political impact, though, the situation wasn’tas black-and-white as it’s rendered. What Adams’ photograph doesn’treveal is that the man being shot was the captain of a Vietcong"revenge squad" that had executed dozens of unarmed civilians earlierthe same day. Regardless, it instantly became an icon of the war’ssavagery and made the official pulling the trigger - General NguyenNgoc Loan - its iconic villain.
Sadly, the photograph’s legacy would haunt Loan for the rest of hislife. Following the war, he was reviled where ever he went. After anAustralian VA hospital refused to treat him, he was transferred to theUnited States, where he was met with a massive (though unsuccessful)campaign to deport him. He eventually settled in Virginia and opened arestaurant but was forced to close it down as soon as his past caughtup with him. Vandals scrawled "we know who you are" on his walls, andbusiness dried up.
Adams felt so bad for Loan that he apologized for having taken thephoto at all, admitting, "The general killed the Vietcong; I killed thegeneral with my camera."
5. The Photograph That Isn’t as Romantic as You Might Think
"V-J Day, Times Square, 1945", a.k.a. "The Kiss"
Alfred Eisenstaedt, 1945

On August 14, 1945, the news of Japan’s surrender was announced inthe United States, signaling the end of World War II. Riotouscelebrations erupted in the streets, but perhaps none were morerelieved than those in uniform. Although many of them had recentlyreturned from victory in
Europe, they faced the prospect of having to ship out yet again, this time to the bloody Pacific.
Among the overjoyed masses gathered in Times Square that day was oneof the most talented photojournalists of the 20th century, a Germanimmigrant named Alfred Eisenstaedt. While snapping pictures of thecelebration, he spotted a sailor "running along the street grabbing anyand every girl in sight." He later explained that, "whether she was agrandmother, stout, thin, old, didn’t make any difference."
Of course, a photo of the sailor planting a wet one on a senior citizen wouldn’t have made the cover of Life,but when he locked lips with an attractive nurse, the image wascirculated in newspapers across the country. Needless to say, "V-J Day"didn’t capture a highly anticipated embrace by long-lost lovers, but italso wasn’t staged, as many critics have claimed. In any case, theimage remains an enduring symbol of America’s exuberance at the end ofa long struggle.
6. The Photograph That Destroyed an Industry
"Hindenburg"
Murray Becker, 1937

Forget the Titanic, the Lusitania, and the comparatively unphotogenic accident at Chernobyl. Thanks to the power of images, the explosion of the Hindenburg on May 6, 1937, claims the dubious honor of being the quintessential disaster of the 20th century.
In the grand scheme of things, however, the Hindenburgwasn’t all that disastrous. Of the 97 people aboard, a surprising 62survived. (in fact, it wasn’t even the worst Zeppelin crash of the 20thcentury. Just four years earlier, the U.S.S. Akron hadcrashed into the Atlantic killing more than twice as many people.) Butwhen calculating the epic status of a catastrophe, terrifyingphotographs and quotable quotes ("Oh, the humanity!") far outweigh bodycounts.
Assembled as part of a massive PR campaign by the Hindenburg’sparent company in Germany, no fewer than 22 photographers, reporters,and newsreel cameramen were on the scene in Lakehurst, N.J. when theairship went down. Worldwide publicity of the well-documented disastershattered the public’s faith in Zeppelins, which were, at the time,considered the safest mode of air travel available.
During the 1920s and 1930s, Zeppelins had operated regular flights,totting civilians back and forth between Germany and the Americas. Butall of that stopped in 1937. The incident effectively killed the use ofdirigibles as a commercially viable mode of passenger transport, endingthe golden age of the airship not with a whimper, but with a horrificbang that was photographed and then syndicated around the globe.
7. The Photograph That Saved the Planet
"The Tetons - Snake River"
Ansel Adams, 1942

Some claim photography can be divided into two eras: Before Adamsand After Adams. In Times B.A., for instance, photography wasn’t widelyconsidered an art form. Rather, photographers attempted to make theirpictures more "artistic" (i.e., more like paintings) by subjectingtheir exposures to all sorts of extreme manipulations, from coatingtheir lenses with petroleum jelly to scratching the surfaces of theirnegatives with needles. Then came Ansel Adams, helping shutterbugseverywhere get over their collective inferiority complex.
Brashly declaring photography to be "a blazing poetry of the real,"Adams eschewed manipulations, claiming they were simply derivative ofother art forms. Instead, he preached the value of "pure photography."In an era when handheld point-and-shoot cameras were quickly becomingthe norm, Adams and other landscape photographers clung to their bulky,old-fashioned large-format cameras. Ultimately, Adams’ pictures turnedphotography into fine art. What’s more, they shaped the way Americansthought of their nation’s wilderness and, with that, how to preserveit.
Adams’ passion for the land wasn’t limited to vistas he framedthrough the lens. In 1936, he accompanied his photos to Washington tolobby for the preservation of the Kings Canyon area in California. Sureenough, he was successful, and it was declared a national park.
8. The Photograph That Kept Che Alive
"The Corpse of Che Guevara"
Freddy Alborta, 1967

Sociopathic thug? Socialist luminary? Or as existentialist Jean-PaulSartre called him, "the most complete human being of our age"? Whateveryou believe, there’s no denying that Ernesto "Che" Guevara has becomethe patron saint of revolutionaries. Undeniably, he is a man ofmythical status - a reputation that persists less because of how helived than because of how he died.
Unenthused by his efforts to incite revolution among the poor andoppressed in Bolivia, the nation’s army (trained and equipped by theU.S. military and the CIA) captured and executed Guevara in 1967. Butbefore dumping his body in a secret grave, they gathered around for astrategic photo op. They wanted to prove to the world that Che wasdead, in hopes that his political movement would die with him. in fact,anticipating charges that the photo had been faked, Che’s thoughtfulcaptors amputated his hands and preserved them in formaldehyde.
But by killing the man, Bolivian officials unwittingly birthed hislegend. The photo, which circulated around the world, bore a strikingresemblance to Renaissance paintings of Christ taken down from thecross. Even as Che’s killers preened and gloated above him (the officeron the right seems to be inadvertently pointing to a wound on Guevara’sbody near where Christ’s final wound was inflicted), Che’s eerilypeaceful face was described as showing forgiveness. The photo’sallegorical significance certainly wasn’t lost on the revolutionaryprotesters of the era. They quickly adopted "Che lives!" as a sloganand rallying cry. Thanks to this photograph, "the passion of the Che"ensured that he would live on forever as a martyr for the socialistcause.
9. The Photograph that Allowed Geniuses to Have a Sense of Humor
"Einstein with his Tongue Out"
Arthur Sasse, 1951

You may appreciate this memorable portrait as much as the nextfellow, but it’s still fair to wonder: "Did it really change history?"Rest assured, we think it did. While Einstein certainly changed historywith his contributions to nuclear physics and quantum mechanics, thisphoto changed the way history looked at Einstein. By humanizing a manknown chiefly for his brilliance, this image is the reason Einstein’sname has become synonymous not only with "genius," but also with "wackygenius."
So why the history-making tongue? It seems Professor Einstein,hoping to enjoy his 72nd birthday in peace, was stuck on the Princetoncampus enduring incessant hounding by the press. Upon being prodded tosmile for the camera for what seemed like the millionth time, he gavephotographer Arthur Sasse a good look at his uvula instead. This beingno ordinary tongue, the resulting photo became an instant classic, thusensuring that the distinguished Novel Prize-winner would be rememberedas much for his personality as for his brain.
10. The Photograph That Made the Surreal Real
"Dalí Atomicus"
Philippe Halsman, 1948

Philippe Halsman is quite possibly the only photographer to havemade a career out of taking portraits of people jumping. But he claimedthe act of leaping revealed his subjects’ true selves, and looking athis most famous jump, "Dalí Atomicus," it’s pretty hard to disagree.
The photograph is Halsman’s homage both to the new atomic age(prompted by physicist’ then-recent announcement that all matter hangsin a constant state of suspension) and to Dalí’s surrealist masterpiece"Leda Atomica" (seen on the right, behind the cats, and unfinished atthe time). It took six hours, 28 jumps, and a roomful of assistantsthrowing angry cats and buckets of water into the air to get theperfect exposure.
But before settling on the "Atomicus" we know today, Halsmanrejected a number of other concepts for the shot. One was the idea ofthrowing milk instead of water, but that was abandoned for fear thatviewers, fresh from the privations of World War II, would condemn it asa waste of milk. Another involved exploding a cat in order to captureit "in suspension," though that arguably would have been a waste ofcats.
Halsman’s methods were as unique as they were effective. His celebrity "jump" portraits appeared on at least seven Life magazine covers and helped usher in a new - and radically more adventurous - era of portrait photography.
11. The Photograph That Lied
"Loch Ness Monster" a.k.a. "The Surgeon’s Photo"
Ian Wetherell, 1934

While strange sightings around Scotland’s murky Loch Ness date backto 565 C.E., it wasn’t until photography reached the Loch that NessieFever really took off. The now-legendary (and legendarily blurry)"surgeon’s photo," reportedly taken in April of 1934, fueled decades offrenzied speculation, several costly underwater searches, and a localtourism industry that rakes in several million dollars each year.
But the party almost ended in 1994, when a report was publishedsaying that model-maker Christian Spurling admitted to faking thephoto. According to Spurling’s statement, his stepfather, MarmadukeWetherell, worked as a big game hunter and had been hired by London’s Daily Mailto find the beast. But rather than smoke out the creature, he decidedto fake it. Wetherell, joined by Spurling and his son, Ian, built theirown monster to float on the lake’s surface using a toy submarine andsome wood putty. Ian actually took the photo, but to lend morecredibility to the story, they convinced an upstanding pillar of thecommunity - surgeon Robert Kenneth Wilson - to claim it as his own.Just goes to prove the old adage, "The camera never lies." People, onthe other hand, do.
12. The Photograph That Almost Wasn’t
"Gandhi at his Spinning Wheel"
Margaret Bourke-White, 1946

"Gandhi at his Spinning Wheel," the defining portrait of one of the20th century’s most influential figures, almost didn’t happen, thanksto the Mahatma’s strict demands. Granted a rare opportunity tophotograph India’s leader; Life staffer Margaret Bourke-Whitewas all set to shoot when Gandhi’s secretaries stopped her cold: If shewas going to photograph Gandhi at the spinning wheel (a symbol forIndia’s struggle for independence), she first had to learn to use oneherself.
But that wasn’t all. The ascetic Mahatma wasn’t to be spoken to (itbeing his day of silence.) And because he detested bright light,Bourke-White was only allowed to use three flashbulbs. Having clearedall these hurdles, however, there was still one more - the humid Indianweather, which wreaked havoc on her camera equipment. When time finallycame to shoot, Bourke-White’s first flashbulb failed. And while thesecond one worked, she forgot to pull the slide, rendering it blank.
She thought it was all over, but luckily, the third attempt wassuccessful. In the end, she came away with an image that becameGandhi’s most enduring representation. it was also among the lastportraits of his life; he was assassinated less than two years later.
13. The Photograph That Foreshadowed the Future
"Le Violon d’Ingres"
Man Ray, 1924

Before there was photoshop, there was Man Ray. One of the world’smost original photographers, Ray was tireless experimenter. In fact,his work was so inventive that he eventually left the camera behindaltogether, creating his surreal "Rayographs" entirely in the darkroom.
"Le Violon d’Ingres" is perhaps his best-known photograph, and oneof his earliest. Like many pieces from the Dada movement (which Ray iscredited with bringing to the United States), it’s a visual pun. Bydrawing f-holes on his model’s back, he points out the similaritiesbetween the body of a woman and the body of a violin. But it’s aliteral pun, as well. Both the model’s dress and pose echo a famouspainting by French artist Jean-Auguste-Dominiqe Ingres, whose hobbieswere depicting female nudes and playing the violin.
More than just highbrow it, however, Ray’s work was far ahead of itstime. By ridiculing a now-obsolete concept - the photographic image asliteral interpretation of reality - his pictures foreshadowed our owndigital revolution.
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The article above was written by Ransom Riggs for the Jan - Feb 2007issue of mental_floss magazine, featured on Neatorama in partnershipwith mental_floss.