Photography helped influence the world in more ways than people could possibly imagine. There are photos of art, history, accomplishment, health, technology and tragedy. photographs are especially prominent.in the age of technology where everyone has a camera on their phone and take pictures of everything. Below is the second installment of some of the most influential photographs ever taken, and their explanations. Some of these pictures are explicit and graphic in nature.
Earthrise is a photograph of the Earth and parts of the Moon’s surface taken by astronaut William Anders in 1968, during the Apollo 8 mission. Nature photographer Galen Rowell declared it “the most influential environmental photograph ever taken.” This had been preceded by the crude 1966 black-and-white raster earthrise image taken by the Lunar Orbiter 1 robotic probe. wilderness photographer Galen Rowell called Earthrise “the most influential environmental photograph ever taken.” Another author called its appearance the beginning of the environmental movement.
“Unbroken Seal of King Tutankhamun’s Tomb”
Taken in 1922, This seal was actually a seal to King Tut’s fifth shrine. The king was buried in a series of four sarcophagi, which were in turn kept inside a series of five shrines. This unbroken seal stayed 3,245 years untouched. The late discovery of Tut’s tomb resulted from the fact that it was covered by debris from that of Ramesses IV which was located directly above its entrance. While the outermost shrine of the youthful pharaoh had been opened not once but twice in ancient times, the doors of the second of the huge shrines of gilded wood containing the royal sarcophagus still carried the necropolis seal which indicated the pharaoh’s mummy was untouched and intact.
The Hindenburg disaster occurred on May 6, 1937, as the German passenger airship LZ 129 Hindenburg caught fire and was destroyed during its attempt to dock with its mooring mast at Naval Air Station Lakehurst in Manchester Township, New Jersey, United States. Of the 97 people on board (36 passengers and 61 crewmen), there were 35 fatalities (13 passengers and 22 crewmen). One worker on the ground was also killed, raising the final death toll to 36.
“Black Power Salute”
The 1968 Olympics Black Power salute was a political demonstration conducted by African-American athletes Tommie Smith and John Carlos during their medal ceremony at the 1968 Summer Olympics in the Olympic Stadium in Mexico City. After having won gold and bronze medals, respectively, in the 200-meter running event, they turned on the podium to face their flags, and to hear the American national anthem, “The Star-Spangled Banner”. Each athlete raised a black-gloved fist, and kept them raised until the anthem had finished. In addition, Smith, Carlos, and Australian silver medalist Peter Norman all wore human rights badges on their jackets. In his autobiography, Silent Gesture, Smith stated that the gesture was not a “Black Power” salute, but a “human rights salute”. The event is regarded as one of the most overtly political statements in the history of the modern Olympic Games.
“Mushroom Cloud Over Nagasaki”
The mushroom cloud rising over Nagasaki, Japan. The city of Nagasaki was the target of the world’s second atomic bomb attack at 11:02 a.m. on August 9, 1945. This picture shows the aftermath of an event that killed over 129,000 people.
“Fire Escape Collapse”
Fire Escape Collapse, also known as Fire on Marlborough Street, is a black-and-white photograph by Stanley Forman which received the Pulitzer Prize for Spot News Photography in 1976 and the title of World Press Photo of the Year. The photograph, which is part of a series, shows 19-year-old Diana Bryant and her 2-year-old goddaughter Tiare Jones falling from the collapsed fire escape of a burning apartment building on Marlborough Street in Boston on July 22, 1975. The fire escape at the fifth floor collapsed as a turntable ladder on a fire engine was being extended to pick up the two at the height of approximately 50 feet (15 meters). The photo was taken with a motorized camera and also shows falling potted plants. Other photos of the series show Bryant and Jones waiting for a turntable ladder and the moment of fire escape’s collapse with both victims on it. Originally published in the Boston Herald, the photo circulated in over a hundred newspapers and led to the adoption of new fire escape legislation in the United States.
“Loch Ness Surgeon’s Photo”
The “surgeon’s photograph” is reportedly the first photo of the Loch Ness Monster’s head and neck. Supposedly taken by Robert Kenneth Wilson, a London gynaecologist, it was published in the Daily Mail on 21 April 1934. Wilson’s refusal to have his name associated with it led to it being known as the “surgeon’s photograph”. According to Wilson, he was looking at the loch when he saw the monster, grabbed his camera and snapped four photos. Only two exposures came out clearly; the first reportedly shows a small head and back, and the second shows a similar head in a diving position. The first photo became well-known, and the second attracted little publicity because of its blurriness.
Although for a number of years the photo was considered evidence of the monster, sceptics dismissed it as driftwood, an elephant, an otter, or a bird.
Bloody Saturday is the name of a black-and-white photograph that was published widely in September–October 1937 and in less than a month had been seen by more than 136 million viewers. Depicting a Chinese baby crying within the bombed-out ruins of Shanghai South Railway Station, the photograph became known as a cultural icon demonstrating Japanese wartime atrocities in China. Taken a few minutes after a Japanese air attack on civilians during the Battle of Shanghai, Hearst Corporation photographer H. S. “Newsreel” Wong, also known as Wong Hai-Sheng or Wang Xiaoting, did not discover the identity or even the sex of the injured child, whose mother lay dead nearby. One of the most memorable war photographs ever published, and perhaps the most famous newsreel scene of the 1930s, the image stimulated an outpouring of western anger against Japanese violence in China. Journalist Harold Isaacs called the iconic image “one of the most successful ‘propaganda’ pieces of all time”.