by Christopher B. Daly
The little-known artist Alfred Waud was one of the most important “visual journalists” covering the greatest conflict in American history. Along with the young Winslow Homer and Thomas Nast, Waud was assigned to cover the fighting, including the critical Battle of Gettysburg, by drawing sketches that could quickly be converted into engravings that could be printed along with text in the pages of newspapers like Harper’s Weekly.
Much better known are the photographs of Mathew Brady (and his less-well-known team of assistants). But Brady’s photos, for all their power and terribly beauty, all suffered from the technical limitations of the mid-19th century. In order for the chemical emulsions used in photography to leave an impression on the glass or metal plates, the camera’s shutter had to be left open for a comparatively long time — at least several seconds. As a result, cameras in the Civil War era were unable to stop action. If the subject was moving, the image would be blurred.
So, it fell to sketch artists to capture any scene involving motion or action.
Sketch of action at Gettysburg by Alfred Waud for Harper’s Weekly.
Library of Congress.
Now, a professor at Northern Kentucky University has used a Waud sketch to try to learn more about the crucial fighting that took place in Gettysburg, Pa., from July 1 to July 3, 1865. Emeritus Prof. Michael C.C. Adams argues that the sketch by Waud can be used to deduce the distance at which the opposing forces opened fire on each other. Many more Waud sketches can be found online or at the Library of Congress.
In the history of journalism, those Civil War sketches are some of the first examples of illustrating the news in a documentary fashion. Hats off to those brave sketch artists who got right up to the front lines armed with nothing more than a palette and some chalk.
Alfred Waud, at Gettysburg.
Library of Congress
By Christopher B. Daly
The remarkable Tyler Hicks seems to have a knack for being present where things happen. Hicks, the NYTimes photojournalist who won a Pulitzer Prize for breaking news this year for his 2013 photos of a mass shooting at a mall in Kenya, just happened to be nearby Wednesday when news broke again. He was staying at a seaside hotel in Gaza when an Israeli rocket struck the beach, killing four young cousins.
In an unusual move, the Times posted a first-person piece by Hicks, in which he described his work. Here’s an excerpt:
I had returned to my small seaside hotel around 4 p.m. to file photos to New York when I heard a loud explosion. My driver and I rushed to the window to see what had happened. A small shack atop a sea wall at the fishing port had been struck by an Israeli bomb or missile and was burning. A young boy emerged from the smoke, running toward the adjacent beach.
I grabbed my cameras and was putting on body armor and a helmet when, about 30 seconds after the first blast, there was another. The boy I had seen running was now dead, lying motionless in the sand, along with three other boys who had been playing there.
By the time I reached the beach, I was winded from running with my heavy armor. I paused; it was too risky to go onto the exposed sand. Imagine what my silhouette, captured by an Israeli drone, might look like as a grainy image on a laptop somewhere in Israel: wearing body armor and a helmet, carrying cameras that could be mistaken for weapons. If children are being killed, what is there to protect me, or anyone else?
I watched as a group of people ran to the children’s aid. I joined them, running with the feeling that I would find safety in numbers, though I understood that feeling could be deceptive: Crowds can make things worse. We arrived at the scene to find lifeless, mangled bodies. The boys were beyond help. They had been killed instantly, and the people who had rushed to them were shocked and distraught.
Here’s the photo the Times posted:
The Times’ caption:
The aftermath of an airstrike on a beach in Gaza City on Wednesday. Four young Palestinian boys, all cousins, were killed. Tyler Hicks/The New York Times
By Christopher B. Daly
On this historic occasion, here’s an array of historic media images from D-Day and the following couple of momentous days as the Allies fought their way off the beaches and began the horrible “hedgerow campaign.”
–Robert Capa’s iconic photos for LIFE magazine can be seen at this memorial page maintained by Magnum (the photo agency Capa helped to found.) These are the highest quality I have found yet.
D-Day invasion photo by Robert Capa
–Recently discovered are these rare color moving images made by Hollywood film director George Stevens while he was volunteering to aid the war effort. (Thanks to The Telegraph (U.K.), via HNN.) Stevens directed “Shane” and “The Diary of Anne Frank,” among many others, including “Gunga Din” with Cary Grant and “Woman of the Year” with Hepburn and Tracy.
–Here is an image of the NYTimes special “extra edition” on June 6, 1944, with a “time stamp” of 6 a.m..
Here is the front page from the following day:
D-Day plus 1
–Here is the Times‘ own version of the June 6 paper.
–Here is a gallery on Google’s new “Cultural Institute,” where I compiled more images from the U.S. National Archives. (This is my first use of this feature. What do you think?) This gallery includes some great images of Higgins boats, which carried the day on June 6, when many of the heavier tank-landing craft (LSTs) got bogged down. Amazing fact: most of the Higgins boats were made of plywood, not steel.
–One more, from the Library of Congress, Prints & Photographs Division:
Americans in Times Square learn the news about D-Day
By Christopher B. Daly
A hat-tip to journalist and educator Ted Gup for a terrific story about his discovery of a classic work of journalism history — the copy of How the Other Half Lives that was owned and annotated by the author himself, Jacob Riis. As I described him in my book, Covering America, Riis (pronounced rees) was a Danish immigrant to New York City who was shocked and outraged by the conditions he found in the city’s many tenements in the late 19th century. Picking up his notebook and a camera (equipped with a then-new technology — the portable flash), he explored the warrens of tiny, windowless rooms where New York’s newest and most miserable found cheap housing. In buildings lacking heat, ventilation and plumbing, the masses huddled while the wealthy were building ever grander pleasure domes uptown on Fifth Avenue and the rest of the Upper East Side. His work also provided a template for the journalists of the classic “muckraking” movement in the first decade of the 20th Century.
An important thing to know about Riis’ expose, published in 1890, is that it had an impact. His photos and writing contributed to a political demand for improvements in New York City housing codes, which resulted in concrete improvements in the tenements. The city adopted new building codes that required more light, less crowding and, eventually, heat and plumbing.
In his piece in today’s Times, Gup — an investigative journalist himself who now chairs the Journalism Dept at crosstown Emerson College — describes how he stumbled upon a first edition of How the Other Half Lives that contains Riis’ own handwritten comments and marginalia. He also rightly commends Riis as a “multimedia” journalist for his combining of text and photos (and his use of a flash to light up those dark inner rooms of the tenements).
As many have observed (including the city’s new mayor, Bill DeBlasio), Riis is as relevant as ever, now that New York City is living through another Gilded Age in which wealth is as unevenly distributed as it was in the days of Rockefeller, Morgan, and Hearst.
“The Italian Rag-picker,” by Jacob Riis, from his book, How the Other Half Lives.
Photo from Museum of the City of New York.
By Christopher B. Daly
Don’t miss: if you are a historian, researcher, or dedicated browser, visit the new flickr site of The British Library. The library recently made news by posting more than 1 million historic images — all digitized, all in the public domain, and all available for use now. Plus, there’s metadata for each one. The site is not as easy to navigate (it’s actually a bit overwhelming) as the U.S. Library of Congress site for the Prints & Photographs Division, but I’m hardly complaining.
It’s also based on flickr, so you need to have an account to take full advantage. (I tried to re-activate my old Yahoo account — Yahoo bought flickr a few years ago — but it was so cumbersome and annoying that I gave up, for now. I got these images by dragging them in from news sites.)
And they should get it (much as I would like to side with B.U. alum Pete Souza, the official White House photographer).
Here’s a version.