They say a picture is worth a thousand words. Some pictures, however, are worth at least a million. I’m talking about photographs that nearly everyone recognizes and that will forever be etched into our shared history. Even though these legendary photos might be known by all, far from everyone knows about the superstar photographers who took them. Even less know about the cameras they used to capture history in the making. Buckle up, amigos, you’re about to become photography buffs!
#1 "Earthrise" By William Anders, 1968 / Modified Hasselblad 500 El
Earthrise (pictured above) is a photograph of Earth and some of the Moon's surface that was taken from lunar orbit by astronaut William Anders during the Apollo 8 mission. The photograph was taken from lunar orbit on December 24, 1968, 16:00 UTC, with a highly modified Hasselblad 500 EL with an electric drive. The camera had a simple sighting ring rather than the standard reflex viewfinder and was loaded with a 70 mm film magazine containing custom Ektachrome film developed by Kodak. Immediately prior, Anders had been photographing the lunar surface with a 250 mm lens; the lens was subsequently used for the Earthrise images.
#2 "Tank Man" By Jeff Widener, 1989 / Nikon Fe2
One of the most iconic photos in history is, without a doubt, The Burning Monk. We’ve all seen this photo in school books, on the news, and in most-famous photo lists. The monk’s name was Thích Quảng Đức. He self-immolated in Saigon on June 11, 1963, to protest the South Vietnamese government's persecution of Buddhists. The person who captured this selfless sacrifice for the greater good was photographer, Malcolm Browne. He passed away in 2012 but his legacy lives on.
Tank Man (also known as the Unknown Protester or Unknown Rebel) is the nickname of an unidentified Chinese man who stood in front of a column of tanks leaving Tiananmen Square on June 5, 1989, the morning after the Chinese military had suppressed the Tiananmen Square protests by force. As the lead tank maneuvered to pass by the man, he repeatedly shifted his position in order to obstruct the tank's attempted path around him. The incident was filmed and smuggled out to a worldwide audience.
“I was thinking only about the fact it was a self-illuminated subject that required an exposure of about, oh say, f10 or whatever it was, I don't really remember. I was using a cheap Japanese camera by the name of Petri,” Browne told Time in an interview about that historic day. “I was very familiar with it, but I wanted to make sure that I not only got the settings right on the camera each time and focused it properly, but that also, I was reloading fast enough to keep up with the action. I took about ten rolls of film because I was shooting constantly.”
#3 Lyle Owerko, 2001 / Fuji 645zi
Filmmaker and photographer Lyle Owerko was in NY during the fateful day back in 2001. So it happened that he had his camera ready and when the tragedy struck, he took some of the photos that soon would become historical and end up as the cover photo of TIME.
CLICK HERE to continue reading for images #4-#20.
20 Of The Most Iconic Photographs And The Cameras That Captured Them
PROJECTed IMAGE AWARDS
Sue Robertson 'Vase and Jonquils
Sue Robertson 'Vase and Shadow'
Di Sylvester 'Pomegranates'
Mike Nolan 'Timeless'
Peter Wydmuch 'Arizona Snow Cap'
Gary White 'Time to Read'
Gary White 'Man in the Moon
COLOR PRINTS -CREDITS
Phil Belbin 'Pour me'
Bob Green 'Jonny Walker
John Halpin 'Orchids'
Alan Edwards ' Feather'
Ian Fegent 'Traps'
Ian Fegent 'Dug Up Marbles'
Di Sylvester 'Still Life with Pomegrantes'
Nadine Lindsay 'Tiger Lily'
Peter Wydmuch 'Gold Crucible'
Sandra Crossan 'Fragments'
Di Sylester 'Tulips with Quail Eggs'
Gary White 'Art of Photography'
Phil Belbin 'Watch'
Ian Fegent 'Shearer's Cooking Gear'
Helen Smith 'Credit'
Barbara Seager 'Frozen Fruit'
Di Jones 'Off the Ram's Back
Di Jones 'Decay'
Gianni Biasi 'Tentacles'
Jacqui Davey 'Nest'
Sean Cuffe 'The Cube'
Sean Cuffe 'Strawberry Smash #2'
Barbara Seager 'Wine Time'
Di Jones 'Hazelnut Harvest'
John Halpin 'Rose'
John Halpin 'Hibiscus'
Gianni Biasi 'Mr Michiba'
Charles Foreman 'Sweet and Sour'
Margaret Renaud 'Still Life with Fruit'
Margaret Renaud 'Ted's Picnic'
Max Perkins 'Welcome'
Max Perkins 'Bushwalk'
Sue Robertson 'Vanessa'
Sean Cuffe 'Strawberry Smash'
PRINTED IMAGE AWARDS
Dynamic Range Explained
Color psychology is a topic well understood by interior designers, graphic artists and fine artists alike. They understand the secret language of color that can communicate, inspire, evoke, and stimulate emotional responses. Purposeful and intelligent use of color in landscape photography can bring a deeper meaning to your images and create more emotional impact.
Why Using Scale in Nature Photography is so Important
Six Advanced Compositional Techniques To take your Photography to the next level
Food is everything we are.
It’s an extension of national feeling,
ethnic feeling, your personal history, your province, your region,
your tribe, your grandma.
It’s inseparable from those from the get-go.
– Anthony Bourdain
Emotional impact of color in landscape photography
The Art of Seeing Part 2
Has Social Media turned Photography into a Competition
5 Important variables for creative photography -Jay Patel
Everything we are
Creative photography allows you to use out-of-the-box thinking to produce breathtaking landscape photos that make your users go WOW!! It is true what they say that without creativity your photos look more like snap shots.
Your Photography Should be about Storytelling, Not Pixel Counting or Gear Collecting
Image Evaluation -Open
September 30-October 7
Presentation-Add WOW to your Landscapes
The Best Sharpening Technique
Relight any Photo with the Hard Mix Blend Mode
from the editor
Working with Albums and Collections in Lightroom -Part 1
Erase Backgrounds Quickly with the Background Eraser Tool
Working with Albums and Collections in Lightroom -Part 2
Contrast Luminosity and Color
Welcome to the July issue of the 2019 Southern Highlands Newsletter, and congratulations to all award recipients.
This month the issue highlights 20 iconic photographs and the cameras that captured them. None of these photographs were captured with the latest and greatest technically advanced cameras which serves to emphasize the point that a good photograph tells a story and it is not about the equipment.
As always if there are specific areas you would like addressed in the newsletters just send me an email (firstname.lastname@example.org) and I will endeavour to include articles and content to cover your requests.
Post Processing Techniques
Upcoming 2019 program