Get the Picture
A Personal History of Photojournalism
9780226539140
Get the Picture
A Personal History of Photojournalism
How do photojournalists get the pictures that bring us the action from the world’s most dangerous places? How do picture editors decide which photos to scrap and which to feature on the front page?
Find out in Get the Picture, a personal history of fifty years of photojournalism by one of the top journalists of the twentieth century. John G. Morris brought us many of the images that defined our era, from photos of the London air raids and the D-Day landing during World War II to the assassination of Robert Kennedy. He tells us the inside stories behind dozens of famous pictures like these, which are reproduced in this book, and provides intimate and revealing portraits of the men and women who shot them, including Robert Capa, Henri Cartier-Bresson, and W. Eugene Smith. A firm believer in the power of images to educate and persuade, Morris nevertheless warns of the tremendous threats posed to photojournalists today by increasingly chaotic wars and the growing commercialism in publishing, the siren song of money that leads editors to seek pictures that sell copies rather than those that can change the way we see the world.
Find out in Get the Picture, a personal history of fifty years of photojournalism by one of the top journalists of the twentieth century. John G. Morris brought us many of the images that defined our era, from photos of the London air raids and the D-Day landing during World War II to the assassination of Robert Kennedy. He tells us the inside stories behind dozens of famous pictures like these, which are reproduced in this book, and provides intimate and revealing portraits of the men and women who shot them, including Robert Capa, Henri Cartier-Bresson, and W. Eugene Smith. A firm believer in the power of images to educate and persuade, Morris nevertheless warns of the tremendous threats posed to photojournalists today by increasingly chaotic wars and the growing commercialism in publishing, the siren song of money that leads editors to seek pictures that sell copies rather than those that can change the way we see the world.
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Table of Contents
Foreword
1.Tuesday Was a Good D-Day for Life
2.My Life Begins
3.The Thirty-first Floor
4."To Suffer or to Fight"
5.The "Picture Men"
6.Hollywood Bureau
7.The "Day of Wrath"
8.The Longest Wait
9.To the Beach
10."Paris Is Free Again!"
11.Beatrice and Bruce and Mary
12."People Are People"
13.The Missouri Workshop
14.Red-baited
15."Nothing but Champagne!"
16."Personal and Confidential"
17.Disaster
18.Decisive Moments
19.Chim’s Fate
20.The Many Woes of W. Eugene Smith
21.Camelot and Cuba
22.Departure
23.To the Post
24.Jobless at Forty-nine
25.To the Times
26.A Table at Sardi’s
27.The Gund of ’68
28.Abe in Orbit
29.Special Transmissions
30.Various Quests
31.After Gene
32.Geographic Agonistes
33.Paris, Capital of Photojournalism
34.The Gulf
Afterword
Acknowledments
Index
1.Tuesday Was a Good D-Day for Life
2.My Life Begins
3.The Thirty-first Floor
4."To Suffer or to Fight"
5.The "Picture Men"
6.Hollywood Bureau
7.The "Day of Wrath"
8.The Longest Wait
9.To the Beach
10."Paris Is Free Again!"
11.Beatrice and Bruce and Mary
12."People Are People"
13.The Missouri Workshop
14.Red-baited
15."Nothing but Champagne!"
16."Personal and Confidential"
17.Disaster
18.Decisive Moments
19.Chim’s Fate
20.The Many Woes of W. Eugene Smith
21.Camelot and Cuba
22.Departure
23.To the Post
24.Jobless at Forty-nine
25.To the Times
26.A Table at Sardi’s
27.The Gund of ’68
28.Abe in Orbit
29.Special Transmissions
30.Various Quests
31.After Gene
32.Geographic Agonistes
33.Paris, Capital of Photojournalism
34.The Gulf
Afterword
Acknowledments
Index
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