On November 30, 1939, the Soviet-Finnish war began, which many historians attribute to the events of the Second World War. The goal of the Soviet Union at that time was to ensure the security of Leningrad, which was located dangerously close to the border with Finland. In the event of a full-scale military conflict, Finland could provide its territory as a springboard for the deployment of troops of opponents of the USSR. The bloody Soviet-Finnish war continued until March 1940. On the eve of the 75th anniversary of this event, we decided to recall the best photographs demonstrating the horrors of war and the joy of victory. We present to your attention a selection of the 10 most famous war photographs.
“Combat”, Maxim Alpert (1942)
The famous photograph “Combat” was taken by Soviet front-line correspondent Maxim Alpert on July 12, 1942 in the Lugansk region, where the 220th Infantry Regiment held a heroic defense. The photograph shows a Soviet commander with a TT pistol in his hand, rousing his soldiers to attack. Alpert only managed to take a couple of photographs of the commander before a shell fragment broke his camera. The same shell killed the battalion commander. The unique photograph was published in Soviet newspapers in the same year, but the name of the hero captured in the picture remained unknown. Only years later it was found out that the legendary battalion commander was from Ukraine, Zaporozhye region. The photograph of M. Alpert became a real symbol of courage and military courage; it was immortalized in several monuments and anniversary medals.
Bomb "Fat Man", 1945 A unique photo showing the explosion of the American atomic bomb, nicknamed "Fat Man", during the bombing of Nagasaki on August 9, 1945. This bomb, weighing four and a half tons, had a plutonium core surrounded by more than sixty explosive charges, which were assembled into the correct geometric shape, resembling a soccer ball. The detonation of charges led to a chain nuclear reaction and a destructive explosion.
The photograph depicts the first and, fortunately, only case in the history of mankind when atomic bombs were used for military purposes. During American bombings More than seventy thousand people were killed in Hiroshima and Nagasaki, and many thousands more died from the consequences radioactive radiation in subsequent years. Today, this famous photograph clearly shows the dangerous potential atomic weapons and the true, ruthless nature of war.
Omaha Beach, Robert Capa (1944)
On June 6, 1944, the Allied operation, called D-Day, began to land troops on the shores of Normandy (France). A total of five landing points were identified, one of which was Omaha Beach, for which the American army was responsible. It was in this sector that the most fierce and bloody battles with fascist troops took place. In just one day of fighting, the Americans lost about three thousand soldiers here. This happened because the bomber planes, due to fog, were unable to destroy the enemy fortifications in this area. The legendary photograph taken by war photographer Robert Capa captured the very moment of the landing of troops on Omaha Beach, when tens of thousands of soldiers had to overcome the distance to the shore under artillery fire.
Capa was next to the soldiers during these terrible events; he also had to dive under water to escape bullets. The photographer had no time to think about technical issues, so the photo turned out blurry, with obvious errors in exposure. However, this did not prevent the photograph from becoming truly iconic - it was published by Life magazine, thus paying tribute to the valor and courage of the soldiers who died heroically during the bloody battle.
Execution in Saigon, Eddie Adams, 1968 Perhaps the most famous photo of the Vietnam War. It was taken in 1968 by Associated Press photojournalist Eddie Adams in Saigon as the Viet Cong began an active attack on the city. In the capital, the photographer's attention was attracted by two infantrymen of the South Vietnamese army who were escorting a man. Adams, camera in hand, watched as the two soldiers told General Nguyen Ngoc Loan that the prisoner had killed the police. Immediately the military commander took out a revolver, pointed the barrel at the prisoner’s head and pulled the trigger. Literally a second before the shot, another click was heard - Adams took his legendary shot.
This photographic image became a symbol of the anti-war movement in America, playing a significant role in changing the attitude of ordinary Americans to the events of the Vietnam War. Adams received many prestigious awards for his photography, including the Pulitzer Prize. However, the events of that day are not so clear. After all, the captured Viet Cong, who was killed in cold blood by a brigadier general, was arrested near a ditch filled with more than thirty corpses of policemen and their relatives. Adams himself later called General Nguyen Ngoc a hero.
"Raising the Flag on Iwo Jima" by Joe Rosenthal (1945)
Joe Rosenthal captured on camera a group of US Marines who fought for the tiny island of Iwo Jima raising the flag on Mount Suribashi. This photograph became extremely popular in the West and was reprinted in many publications. It is noteworthy that Mount Suribashi had been taken by American troops two hours earlier before the very moment of filming, and the Stars and Stripes flag had already been raised on it. However, that flag was too small, so it was decided to replace it with a more significant canvas. By the way, this large banner has survived to this day and is kept in the Museum of the US Marine Corps. The capture of the island came at a serious cost to the Americans - they lost more than twenty-five thousand people killed and wounded, so Rosenthal's photo is one of the most recognizable and significant images of World War II.
"Loyalist Militiaman at the Moment of Death", Robert Capa (1936)
Another famous photo from the outstanding photojournalist Robert Capa. In September 1936, the then young reporter Capa went to Spain, where the events of the Civil War were unfolding at that moment. On the morning of September 5, Capa was in a trench in southern Extremadura. When the attack of the Republican army began and machine gun fire rang out, Capa simply stuck his camera out of the trench and pulled the trigger at random. Imagine his surprise when in the developed photo he saw an amazing moment - a shot militiaman falls to the ground in slow motion.
The photo turned out to be very dramatic and emotional. However, many experts doubt that this incredible footage is genuine. They consider Capa's photograph to be staged, indicating that the author of the photograph himself was actually several kilometers from the epicenter of the fighting. In addition, it is known that the militiaman, later identified from a photograph, was actually killed at the moment when he tried to hide behind a tree.
Burnt Alive in Vietnam, Nick Ut (1972)
A heartbreaking and poignant photograph of the Vietnam War. It shows crying, frightened children running to escape a napalm air attack on a village. The naked nine-year-old girl Feng Tai Kim Phuc, who we see in the center of the photo, suffered fatal burns during these terrible events. But the doctors in Saigon, having completed seventeen plastic surgery, they were still able to save her. In the 90s, she moved to live in North America, where she founded her own foundation designed to help children who were victims of military conflicts. Nick Ut was awarded the Pulitzer Prize for this photo.
Fritz Klein, a doctor at the notorious Bergen-Belsen concentration camp, was arrested in April 1945 by representatives of the British army. The main responsibility of this doctor was the selection of Jews and Soviet prisoners of war to send them to gas chambers. In the first days after the liberation of the concentration camp, he, along with other SS men, was forced to bury the corpses scattered throughout the Bergen-Belsen camp in a mass grave. In this camp, British troops found more than ten thousand corpses, and they also freed sixty thousand prisoners. The picture shows Dr. Klein standing in a huge grave on the mountain of the dead. At the end of 1945, by decision of the British tribunal, Fritz Klein was hanged.
“Banner of Victory over the Reichstag”, Evgeniy Khaldei (1945)
On April 30, 1945, Evgeniy Khaldei managed to capture the legendary moment - the fighters Soviet army hoisting the Banner of Victory over the Reichstag. In the USSR, the photograph became a real symbol of victory over Nazi Germany, it has also been published in all the leading publications in the world. The world-famous photograph taken by Soviet photojournalist Evgeniy Khaldei was actually staged. On instructions from the editors, Khaldei went to Berlin, taking with him three red banners, one of which adorned the Reichstag. But by that time, Soviet soldiers had already hoisted the flag on the Reichstag building, so Khaldei decided to take a series of staged photos. He asked the soldiers of the 8th Guards Army who met him on the way to help climb the historical building and plant a red banner there. Khaldei found the best angle and shot two cassettes of film.
"Victory in Time Square", Alfred Eisenstadt, 1945 Finally, a well-recognized photograph taken in Times Square by Life magazine reporter Eisenstadt in a moment of triumph - during the celebration of Japan's surrender. In the photo, a naval sailor kisses an unknown nurse. The photographer managed to catch a good moment during the general public rejoicing. The photo of the kiss in Times Square became a symbol of victory for Americans in World War II. The heroes of this legendary frame met on central square New York was completely by accident; they knew nothing about each other until that moment. Everything happened very quickly, the couple kissed, and then they were immediately surrounded by a crowd of people and they disappeared into it. Therefore, the names of the subjects of Eisenstadt’s photos remained anonymous for a long time.
Only decades later was it finally possible to identify the girl - she turned out to be Edith Shane. In August 1945, she heard the long-awaited news about the end of the war and ran to Time Square to celebrate, where Edith fell into the arms of a completely unfamiliar sailor. But the role of that same sailor from the legendary photograph was subsequently disputed by many men. It is believed that this was Carl Muscarello, who was about twenty years old at the time of the celebration of the victory over Japan.
Their names are firmly entrenched in the history not only of Russian photography, but also in the history of Soviet journalism. Courage, unshakable faith in victory and dedication - that’s what distinguished each of them when they volunteered to go to the front and, under bullets, created a photographic chronicle of the country. We present an overview of the most famous Soviet photojournalists of the Great Patriotic War.
Max Vladimirovich Alpert was born in Simferopol. Together with his brother, Mikhail Alperin, he studied photography in Odessa. After the Civil War, he worked as a photojournalist for Rabochaya Gazeta in Moscow. In the 1920s, he was a member of the association of photo reporters at the Moscow Press House.
In the 1930s, he worked for the illustrated magazine “USSR on Construction,” where he prepared about 50 photo essays. Most important work of this period were made during the construction of a plant in Magnitogorsk (Magnitka), during the laying of Turksib, and during the construction of the Great Fergana Canal.
During the Great Patriotic War, as a correspondent for TASS Photo Chronicle and the Sovinformburo, Alpert worked both in the rear and at the front, in combat situations. Alpert is the author of the world-famous work “Combat”, which has become one of the symbols of the war. At the end of the war, he visited Prague and Berlin and filmed the Victory Parade on June 24, 1945 in Moscow. In the post-war years he collaborated in various publications. He was a leading photojournalist for the Novosti press agency.
Many of his works are kept in the collection of negatives of the State Central Museum modern history Russia. Considered one of the founders of Soviet serial reportage photography. Honored Worker of Culture of the RSFSR (1966).
Anatoly Arkhipovich Arkhipov, originally from Kharkov, worked as a photojournalist for the editorial office of Soviet Ukraine since 1939, then was transferred to Moscow to work for the Illustrated Newspaper. Anatoly Arkhipov took the first photographs of the Great Patriotic War in May 1942 on the Southwestern Front. His photographs were first published in 1942 in the propaganda magazine “Front Illustration”.
Then there was Stalingrad, in the battles for which Arkhipov was wounded in November 1942, the Leningrad Front, the liberation of Eastern Ukraine, Battle of Kursk, liberation of Kyiv, Belarus, Poland, offensive in Germany. He photographed both ordinary soldiers and military leaders.
After graduating in 1939 from the Faculty of Mechanics and Mathematics of Moscow state university, Dmitry Baltermants was accepted as a mathematics teacher at the Higher Military Academy with the rank of captain. In the same year he completed his first professional photo report. On instructions from the newspaper Izvestia, he captured the entry of Red Army units into the territory of Western Ukraine. As a result, he was enrolled in the staff of Izvestia and became a professional photojournalist. According to the memoirs of the photographer’s daughter Tatyana Baltermants, before making the fateful decision, Dmitry Baltermants almost did not hesitate and easily abandoned the prospects of a scientific academic career: “It took a little time to think - the soul was already poisoned by photography, all that was left was to pick up a camera.”
Dmitry Nikolaevich Baltermants was a photojournalist for the Izvestia newspaper, filming reports for it about the construction of anti-tank fortifications near Moscow, the defense of Crimea, Battle of Stalingrad. In 1942, due to an editor’s mistake (they published a photograph of destroyed not German, but British tanks that were in service with the Red Army), the responsibility for which was assigned to the author of the photo, Baltermants was demoted to the ranks and sent to a penal battalion. As a result of the injury, his leg was amputated. After lying in hospitals until 1944, Dmitry returned to the front as a photojournalist for the army newspaper “To Defeat the Enemy.” For the battles in the city of Breslau on May 16, 1945, Lieutenant Colonel I. Volkov again nominated Senior Lieutenant Baltermants for the award - the Order of the Patriotic War, II degree.
Returning from the front, Dmitry Baltermants did not immediately find work. Only the poet Alexey Surkov, editor-in-chief of the Ogonyok magazine, was not afraid to hire Baltermants. In this magazine, having headed its photo department in 1965, Dmitry Baltermants worked until his death.
During the years of Khrushchev's "thaw" Dmitry Baltermants experienced the peak of his popularity. At this time, Soviet amateur photographers were able to see many “archival”, unpublished front-line works of the master, which captured not only the feat, but death, grief and the hardships of war. The photographer became famous abroad - Dmitry Baltermants' personal exhibitions in London (1964) and New York (1965) made him a world celebrity.
She was born on December 17 (December 30), 1914 in Kyiv in the family of a technical school teacher. In 1934, she worked as a photojournalist for the ShchKPU newspaper “Kommunist”. In 1938, she moved to TASS Photo Chronicle in Ukraine. In 1941, she volunteered to work for the front-line newspaper of the Southwestern Front, “Red Army,” and worked with it until the end of the war. Filmed on the Southwestern, Central, and 1st Belorussian fronts. She was constantly published in the central newspapers “Pravda”, “Krasnaya Zvezda”, the magazine “Ogonyok” and the foreign press (through the Sovinformburo). She finished the war with the rank of senior lieutenant.
After the war, in 1945, Detizdat published a book of photographs, “On the Roads of War,” which received an award. Participated in many all-Union and international photo exhibitions. Since 1945 she lived in Moscow. She worked as a Moscow correspondent for the Ukrainian newspaper Radyanska Kultura.
Robert (Iosif-Raphael) Lvovich Diament served in the Northern Fleet during the Great Patriotic War as a photojournalist and head of the photo bureau of the Fleet Political Directorate. After demobilization, he worked under contracts at the All-Russian Agricultural Exhibition, carried out tasks for the Anti-Fascist Committee of Soviet Women, the editors of the magazine “Club and Amateur Arts”, the magazines “Vocational Education” and “Industrial Training”, his photographs were published in the magazines: “Ogonyok”, “ Soviet Union”, “Soviet Photo”, “Health”, “Working Woman”, “Behind the Wheel”, etc., on the pages of photo albums, were exhibited in military museums in Moscow, Kiev, Leningrad, Murmansk, Polyarny, Severomorsk, etc.
For the sake of doing the work of a photojournalist, he sacrificed his health - when filming a salvo of the main caliber of the cruiser on which he was, Diament did not cover his ear, since his finger was on the camera trigger. As a result, he was shell-shocked and almost deaf in his left ear.
His photographs are the most detailed chronicle of the life of North Sea warriors: sailors, marines, pilots. He went out with submariners to torpedo enemy ships, ensured the safety of allied convoys on destroyers, took part in the landing and in the battles of the Petsamo-Kirkenes operation, and flew out with torpedo bomber pilots. Member of the Union of Journalists of the USSR since 1967.
The world-famous classic of Soviet photography.
Born in 1911 in Rostov-on-Don. In the late 30s he worked as a freelance correspondent for TASS Press Cliché. Since 1933 he has been working at TASS Photo Chronicle. In 1934 he moved to Moscow, where he got the opportunity to film the main events of the era: the Congress of the Comintern and the Congress of Soviets, at which the Constitution was adopted; construction, Arctic expeditions and sports parades. He photographed Maxim Gorky, Mikhail Ivanovich Kalinin; famous pilots - V. Chkalov, M. Gromov, outstanding cultural and artistic figures.
During the war he filmed on many fronts. The most famous photographs were taken in Stalingrad. He took part in the liberation of the cities of Minsk, Warsaw, Koenigsberg, ended the war in Prague, and was awarded two Orders of the Red Star, the Order of the Patriotic War, II degree, and USSR medals. Filmed the liberation of Donbass, Minsk, Warsaw, Konigsberg, Prague. The Stalingrad series of his photographs became especially famous.
After the war, while working at TASS, E. Evzerikhin taught the basics of photography at the Correspondence People's University of Arts and gave lectures around the country.
Emmanuel Evzerikhin died in 1984.
Georgy Anatolyevich Zelma ( real name Zelmanovich) walked in 1906 in Tashkent. In 1921 he moved to Moscow, where he began taking photographs with an old Kodak 9x12 camera. He gained his first photography experience in the Proletkino studio and during theater rehearsals for the Theater magazine. He continued to work at the Russfoto agency, where he came as an apprentice photographer and soon began working independently.
Photojournalist for Izvestia, Ogonyok, Krasnaya Zvezda and other publications in the 1920s and 30s, military photojournalist for the Izvestia newspaper. He worked on the front lines in Moldova, Odessa and Ukraine.
His most famous photographs were taken during the Battle of Stalingrad, where the photographer chronicled the battle for the city. After the war, Georgy Zelma worked at the Ogonyok magazine, and since 1962 at the Novosti agency.
Boris Vsevolodovich Ignatovich was born in Lutsk. Journalist since 1918. In 1921 he moved to Moscow, where he headed the Gornyak newspaper. In 1922–1925 in Petrograd he became interested in photography. After returning to Moscow, he became one of the leaders of the Association of Photo Reporters at the House of Press, from 1927 he was a bill editor and photojournalist for the newspaper “Bednota”, and collaborated in the magazines “Narpit”, “Prozhektor”, “Ogonyok”, “Soviet Photo” and “USSR at Construction”.
Together with Alexander Rodchenko, he is one of the organizers and head of the Oktyabr Group.
In the 1930s became interested in film reporting, made several documentaries (the film essay “Today” and a film about the Kukryniksy, etc.). At the same time, he headed the illustration department of the newspaper “Evening Moscow”.
During the Great Patriotic War, he worked as a photojournalist in the newspaper of the 30th Army “Battle Banner”. He worked behind enemy lines, filming the partisan movement.
After the war, he worked in many magazines and publishing houses, and headed the Novator club. He created portraits of cultural and artistic figures (Korney Chukovsky, Mikhail Zoshchenko, Boris Pasternak, etc.). Awarded USSR medals. Author famous photo Stalin and Nakhangova.
Boris Pavlovich Kudoyarov was born in 1898 in Tashkent. He graduated from the pre-revolutionary gymnasium. In 1917-1920 he served in the Red Army. Being an amateur photographer, he began to actively photograph sporting events. In 1925, he began working as a photo reporter for the magazine “Physical Culture and Sports”, from 1926 he worked for the Russfoto agency, later - Unionfoto, and from 1931 - a photo correspondent for the Soyuzfoto agency. He specialized in sports subjects, and also created a “photo chronicle of the industrialization and collectivization of the country.” In 1932, during the celebration of the First of May, from a P-5 plane he photographed Red Square with columns of demonstrators, the design of Metrostroy, the Palace of Labor, Sverdlovsk Square with giant portraits in the middle. In the same year, on a business trip to enterprises in the Nizhny Novgorod region, I took photographs of the Nizhny Novgorod Automobile Plant, Sormovo, Vyksinsky Plant, port and other objects.
During the Great Patriotic War, he was a photojournalist for Komsomolskaya Pravda in besieged Leningrad, during which time he took about 3,000 photographs, many of which were included in the golden fund of Soviet journalism and photography. The Leningrad cycle of B. Kudoyarov became a classic of military photo reporting. In the post-war years he worked as a photojournalist for Komsomolskaya Pravda. Died on a creative business trip to Central Asia in 1973 in a car accident.
Mark Borisovich Markov-Grinberg in 1925 became a photojournalist for the Rostov newspaper “Soviet South” and a freelance correspondent for the magazine “Ogonyok”. And in 1926 he moved to Moscow. Worked for the magazine "Smena". From 1930 he worked at TASS, and in September 1941 he was sent to the front as a simple private. Only in July 1943 was he sent by the army’s political department as a correspondent for the army newspaper “The Word of a Fighter.”
After the war, he served with the rank of captain as a photojournalist for the Krasnoarmeyskaya Illustrated Newspaper. After the war, he served with the rank of captain as a photojournalist at the Krasnoarmeyskaya Illustrated Newspaper.
Honorary member of the Union of Photographers of Russia. M. Markov-Grinberg did not live just a year before his centenary.
Mark Stepanovich Redkin was born in the city of Astrakhan in 1908 in the family of a sailor. In his youth he worked at a ship repair plant as a welder. In 1932 he graduated from the Leningrad Film and Photo Technical College. In 1933 he was called up to military service. In 1934 he began taking photographs for newspapers. From 1934 to 1941 he worked for the Krasnaya Zvezda newspaper. During the war, he was a photojournalist for TASS, as well as for the Front Illustration newspaper. Was acquainted with A. S. Shaikhet and Y. N. Khalip.
In 1934–1941 he was a photojournalist for the newspaper of the Leningrad Military District and the Baltic Fleet "Red Star", TASS photo chronicle. Filmed on many fronts. After the victory over Germany, he filmed the war with Japan. In the post-war period, he was a correspondent for TASS photo chronicles, the Soviet Union magazine, and the Planeta publishing house.
Born in 1913 in Kharkov. Graduated from the working faculty of Kharkov University; collaborated with the Kharkov newspaper “Evening Radio”. Since 1936 - photojournalist for the republican newspaper "Communist", the organ of the Central Committee of the Communist Party of Ukraine.
Since the beginning of the Great Patriotic War, he was a photojournalist for the Pravda newspaper on the Southwestern Front. Later he photographed on different fronts, the most famous are his photographs taken in the battle for Stalingrad. Participated as a photo reporter in the liberation of Ukraine, Moldova, Romania, and Hungary. Filmed fighting in Berlin.
In the post-war years he worked for the newspapers Pravda, Soviet Russia, the magazine Ogonyok, and the publishing house Kolos. He has published several author's photo albums. Awarded orders and medals.
Died in Moscow in 1986.
Mikhail Ivanovich Savin was born in 1915. Since 1939 he worked at TASS Photo Chronicle. In the active army since June 1941. Military photojournalist, senior lieutenant. As a front-line photojournalist, he went through the entire war from the first to the last day. During the war he was awarded medals “For Courage” and “For Victory over Germany.” From 1946 to 1992, one of the leading photojournalists for Ogonyok magazine.
Author of photo albums, participant in many photography exhibitions, especially those dedicated to the Great Patriotic War. He was interested in painting. Lives in Moscow. from March 1941 he worked for the newspaper of the Western Military District “Krasnoarmeyskaya Pravda”.
Filmed the retreat in Belarus, the battles near Smolensk, the battle for Moscow, on the Kursk Bulge, the liberation of Lithuania, the offensive in East Prussia. Filmed the surrender German troops in East Prussia and the Baltic. Since 1945, Mikhail Savin worked as a photojournalist for the Ogonyok magazine.
Sergei Nikolaevich Strunnikov was born in 1907 in Moscow into the family of an artist. Graduated in 1926 high school and began working as a poster putter in a Moscow cinema. A year later he entered the State Film College (later - the All-Union State Institute of Cinematography). As a student, in 1929 he independently made a documentary film about the work of the geological exploration party “Fuel Exploration”. In the spring of 1930, he completed a technical school course and began working at the Mezhrabpomfilm studio in the group of the famous director V. Pudovkin. At the same time he began publishing photographs in the central press.
He voluntarily joined the Red Army and worked for a year in the army newspaper. Since 1932 - photojournalist for the newspaper Pravda.
In 1933, he participated in a polar expedition on the icebreaker Krasin as a photojournalist for the Main Northern Sea Route. He reported from the Five-Year Plan construction sites in Central Asia and Transcaucasia.
In 1940, the 10th anniversary of his photojournalism was celebrated with a personal exhibition at the Central House of Journalists. Since 1941 - military photojournalist for Pravda. World famous received his photograph “Zoya”, taken near Moscow in January 1942. Filmed near Odessa, Tula, in besieged Leningrad, in the Kharkov direction, in Stalingrad. He died in June 1944 during an enemy air raid on an airfield near Poltava.
Vsevolod Sergeevich Tarasevich began publishing photographs in the newspapers Smena and Leningradskaya Pravda while still studying at the Leningrad Electrotechnical Institute. Since 1940, he has been a photojournalist for LenTASS photo chronicles. Since the beginning of the war - photojournalist political management Northwestern and then Leningrad fronts.
The most significant work of the war period is a series of photographs “Leningrad in the Siege” (1941–1943).
After the end of the war, he collaborated with the newspaper “Evening Leningrad” for three years. After moving to Moscow, he worked as a photojournalist for VDNH, for the magazines “Soviet Union”, “ Soviet woman", "Ogonyok". Since 1961 - photojournalist for the Novosti press agency. One of the first Soviet photographers to start shooting in color (1954–1955), works from this period were included in the exhibition “Primrose” (Photobiennale 2008).
In the 70s, he was the dean of the photojournalism department of the Institute of Journalistic Excellence at the Moscow organization of the Union of Journalists.
Viktor Antonovich Temin was born on October 21 (November 3), 1903 in Tsarevokokshaisk (now Yoshkar-Ola, Mari-El Republic) in the family of a clergyman. I took my first photograph in Menzelinsk when I was still a schoolboy.
In 1922, he began working as a correspondent for the newspaper Izvestia TatTSIK. In 1929, on the instructions of the editors of “Red Tataria”, Viktor Antonovich photographed Maxim Gorky who arrived in Kazan. At the meeting, the writer gave the correspondent a portable Leica camera.
In the 1930s, V. A. Temin filmed a number of significant events: the first expedition to the North Pole, the epic rescue of the Chelyuskinites, the flights of V. P. Chkalov, A. V. Belyakov and G. F. Baidukov, the first flight of female pilots to aircraft "Rodina", expeditions to the Arctic on the icebreakers "Taimyr", "Murmansk", "Ermak", "Sadko". He took part in the battles on Lake Khasan, Khalkhin Gol, and in the Soviet-Finnish War (1939–1940).
During the Great Patriotic War, V. A. Temin, as a front-line correspondent, visited different fronts. At noon on May 1, 1945, I photographed the Victory Banner from the Po-2 plane. This photograph was promptly delivered to the editorial office of Pravda. The photo “Victory Banner over the Reichstag” was published by newspapers and magazines in dozens of countries around the world.
Awarded three Orders of the Red Star, Orders of the Patriotic War I and II degrees, and medals. Honored Worker of Culture of the RSFSR.
Mikhail Anatolyevich Trakhman was born in Moscow and became interested in photography during his school years. The first photographs were published in Moscow newspapers in the late 30s.
In 1938, he became a photojournalist for the Teacher's Newspaper. In 1939 he was drafted into the Red Army and took part in the Soviet-Finnish War.
During the Great Patriotic War, Mikhail Anatolyevich was a photojournalist for the Sovinformburo and worked for the Krasnaya Zvezda newspaper. His most famous war photographs are from the partisan series. After the war, he worked for the magazine Ogonyok and as a photojournalist at VDNKh. Awarded the Order of the Red Star.
David Mikhailovich Trakhtenberg began working in Leningrad; He was an artist by training and often used photography in his work, then he began to take pictures himself. In the late 1930s, he became a photojournalist for Leningradskaya Pravda. During the war, he kept a detailed photo chronicle of the siege of his native city. He is the author of the unique photo series “Breakthrough of the Leningrad Siege.”
After the war, books by David Trachtenberg were published about that great tragedy, of which he was an eyewitness, witness and participant, becoming its chronicler. In the post-war period, he continued to work for the Leningradskaya Pravda newspaper and, on instructions from a number of publishing houses in Moscow and Leningrad, photographed books and albums.
Georgy Ivanovich Ugrinovich was born in 1910 in Dnepropetrovsk. Worked in the magazine "Ukraine" in Kyiv.
During the Great Patriotic War, he served as a TASS war correspondent for Ukraine and took a large number of photographs dedicated to the liberation of Ukraine from the German invaders.
After the end of the war, he worked as a freelance correspondent for the Mystetstvo publishing house.
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| Partisan reconnaissance officer of the Chernigov formation “For the Motherland” Vasily Borovik against a background of trees. Photo: Georgy Ugrinovich |
Born in 1909 in Moscow. A graduate of the cinematography department of the Institute of Cinematography, he collaborated with the newspapers Gudok, Mechanical Engineering, Krasnaya Zvezda, Illustrated Newspaper, and Ogonyok magazine. In 1938, on the instructions of Ogonyok, he filmed his famous photo report about the preparation of the flight of the crew of the Rodina aircraft, which made a non-stop flight from Moscow to the Far East.
Since the mid-thirties, Alexander Vasilyevich worked as a photojournalist for the newspapers “Red Warrior” and “Red Star”. During the war he was a front-line photojournalist for the newspaper Pravda. He photographed the famous parade on November 7, 1941 in Moscow, the battles on the Volkhov, Western, Southwestern, Leningrad, Stalingrad, Bryansk, 1st, 2nd, 4th Ukrainian fronts.
Filmed the actions of partisan formations behind enemy lines, the meeting of Soviet and American troops on the Elbe on April 25, 1945. After the war he continued to work as a correspondent for the newspaper Pravda.
Vasily Gavrilovich Fedoseev - photojournalist for LenTASS since 1939. He took part in the war with Finland.
During the Great Patriotic War, he filmed the besieged Leningrad; author of a large number of photographs capturing everyday life besieged Leningrad, the heroism of its citizens, their work and life.
After the war, he worked at the Sovinformburo and at the LenTASS photo chronicle; participant and laureate of all-Union photo exhibitions.
Evgeniy Ananyevich Khaldei was born in Yuzovka (now Donetsk). During the Jewish pogrom on March 13, 1918, his mother and grandfather were killed, and the one-year-old child himself received a bullet wound in the chest.
At the age of 13 he began working at a factory. I took my first photo at the age of 13 with a homemade camera. At the age of 16 he began working as a photojournalist. Since 1939 he has been a correspondent for TASS Photo Chronicle. Filmed Dneprostroy, reports about Alexei Stakhanov. Represented the TASS editorial office on the naval front during the Great Patriotic War. He spent all 1418 days of the war with a Leica camera from Murmansk to Berlin.
He filmed the Paris meeting of foreign ministers, the defeat of the Japanese in the Far East, the conference of the heads of the Allied powers in Potsdam, the hoisting of the flag over the Reichstag, the signing of the act of surrender of Germany. At the age of 18 he began working as a photojournalist, and from 1939 he represented TASS Photo Chronicle. Filmed Dneprostroy, reports about Alexei Stakhanov. He went through the Great Patriotic War from the first to the last day, taking a huge number of photographs, many of which became famous (including one of the symbols of Victory - the photo “Victory Banner over the Reichstag”).
Participated in the liberation of Sevastopol, the assault on Novorossiysk, Kerch, the liberation of Romania, Bulgaria, Yugoslavia, Austria, and Hungary. He took series of photographs about the life of North Sea residents and sailors of the Black Sea Fleet, the Paris Conference of Foreign Ministers, the defeat of the Japanese in the Far East, the conference of the heads of the Allied powers in Potsdam, the hoisting of the flag over Reistag, the signing of the act of surrender of Germany, the Nuremberg trials.
In 2014, his Leica was sold at Bonhams auction for $200,000.
Since 1935, Nikolai Ivanovich Khandogin worked in the editorial office of the Leningrad front-line newspaper “On Guard of the Motherland.”
Filmed the Soviet-Finnish war of 1939-1940. After the German attack on the Soviet Union, he was appointed war photographer of the Leningrad Front.
He photographed events in the Leningrad region, Estonia and Karelia, the siege of Leningrad.
After the war, Khandogin continued to work in the editorial office of the newspaper “On Guard of the Motherland”, as well as in the popular magazines “Soviet Union” and “Ogonyok”.
Ivan Shagin was born in the Yaroslavl region in 1904. When the future photographer was 12 years old, his father died, and a large peasant family was left with very meager means of subsistence. The mother got her son a job as a “boy” in the shop of a Moscow merchant. Here, while running errands, Ivan Shagin learned to read and write and gained worldly experience. He returned to the village again only in 1919, when after the revolution the shop, like many others, closed.
The 17-year-old boy was forced to go to work and got a job as a sailor at the Volga river shipping company. After a short time, the future photographer changed jobs again. This time he was accepted as an auxiliary worker in a “Nepman” store - that is, practically in his specialty. Here the young man stayed and in two years “grew” to become an assistant store director, and then an instructor at a government demonstration store-school.
In the 1920s, he joined a circle at the newspaper “Our Life”, where he learned the basics of photo reporting. Soon his first photographs were already published in publications published under the auspices of the Selkhozgiz concern, and Shagin left his job as a salesman for a career as a photographer. In 1930, Ivan Shagin began collaborating with the newspapers “Our Life” and “Cooperative Life” of the Selkhozgiz publishing house.
Photojournalist for the newspaper TVNZ", during the Great Patriotic War, Shagin worked as a military photojournalist, photographing from the first to the last day - from the announcement of the German attack on the Soviet Union and work in the rear to the signing of the surrender in Berlin in May 1945.
Arkady Samoilovich Shaikhet was born on August 28 (September 9), 1898 in Nikolaev (now Ukraine) in Jewish family. In 1922–1924 he worked as a retoucher in private photography in Moscow. Since 1924, he collaborated in magazines (“Ogonyok”, “USSR in Construction”, “Our Achievements”), creating in his reports a photo chronicle of the first five-year plans.
During the Great Patriotic War of 1941–1945, he photographed a lot at the front as a correspondent for the newspaper “Front Illustration”. He photographed military actions on various fronts, including near Moscow, near Stalingrad, Kursk Bulge, during the capture of Berlin.
In the post-war years he again worked for the magazine Ogonyok.
Materials used in preparing the review
Eat nice photos, some are not very noticeable, some are completely unnoticeable. And there are still shots that change the world and move history. These are not always professional photographs; more often, on the contrary, we're talking about about amateur photographs. It’s just that a man with a camera happened to be exactly where it was needed and took a picture that remained in people’s memory generations later. This collection contains ten war photographs that humanity will never be able to forget.
Dr. Fritz Klein, a doctor at the Bergen-Belsen camp, had a specific job: selecting Jews and Gypsies to be sent to the gas chambers. Nevertheless, he performed it voluntarily and, as they say, with all diligence. Moreover, he did not even attempt to escape when British troops approached the camp. Actually, this photograph was taken at the moment when, at the request of the British, the former camp staff collected the corpses lying throughout its territory into one mass grave, where they were buried. Well, Fritz Klein’s work zeal was appreciated: on December 13, 1945, he was hanged by a military tribunal.
In the Warsaw ghetto, the largest of all, up to 450 thousand Jews lived - if this, of course, can be called life. The ghetto itself was created in 1940, but already in the summer of 1942 the mass deportation of its inhabitants to the Treblinka death camp began. And in the spring of 1943, an armed uprising broke out in the ghetto. The rebels, armed with homemade weapons and bombs, as well as a few pistols, tried to resist the German administration. As a result, six thousand people were killed during the suppression of the uprising, another seven thousand burned in a fire started by the Germans, the rest were taken to Treblinka. This photograph itself, entitled “Forcibly removed from the pastures,” was first published by the Germans themselves, and then used on Nuremberg trials as evidence of Nazi crimes.
The photograph by the famous Robert Capa, taken on D-Day, captures the moment the Allied forces landed in France. Tens of thousands of American, British and Canadian soldiers made it to shore under heavy German fire, many by swimming. And Capa had no time to worry about the correct exposure: when history is being made, there is no time for the technical perfection of the photographs.
The photograph, officially titled "Loyalist Militiaman at the Moment of Death", documents the tragic death of one of the soldiers during civil war in Spain, which was started in an attempt to stop the rise to power of Franco's fascist government. The photo spread all over the world, showing the cruelty of the war. And although today almost everyone recognizes it as staged, this does not diminish the effect produced by the sight of a soldier dying as if before the eyes of the viewer. The author of the photo is again Robert Capa.
This is one of the most famous photographs from the Vietnam War, an already rich photographic chronicle. It shows the head of the Vietnamese State Police, General Nguyen Ngoc Loan, shooting at a newly captured Viet Cong. Eddie Adams received the Pulitzer Prize for this shot, and the photo itself became one of the strongest incentives for the anti-war movement. However, the circumstances of its creation are not so clear: a Viet Cong man, whose name was Nguyen Van Lem, was caught near a ditch in which there were several dozen corpses of police officers and members of their families.
The photograph reflected the culmination of the second war in Iraq and became a symbol of regime change in the country. The cult of Saddam Hussein fell along with this statue, and soon the dictator himself was hanged by a tribunal. For hundreds of thousands of American soldiers and their relatives, the photograph became a sign that the war was over.
Another photo from Vietnam. The naked girl in the foreground is Feng Tai Kim Phuc, who has just torn off her burning clothes. The fact is that Vietnamese aircraft carried out an airstrike on the village of Trang, in which the Viet Cong were fortified. The village burned down, and Kim Phuc received terrible burns. Doctors at an American hospital in Saigon considered them fatal, but after 17 plastic surgeries the girl was saved. Photographer Nick Ut received a Pulitzer Prize for the photo, and for the new government of Vietnam, Kim Phuc became something of a propaganda material. As a result, in 1992, she and her husband fled to Canada, where they live to this day, having founded a foundation and helping children who have become victims of war.
This is perhaps the most important war photograph for the United States. It captures the moment when the Marines plant a flag (however, the second one - the first one was too small) on Mount Suribachi. The flag became a symbol of the first American land victory over Japanese troops, especially since it came at a considerable cost: the United States lost more than 25 thousand people killed and wounded in the Battle of Iwo Jima. Well, photographer Joe Rosenthal not only received the Pulitzer Prize, but also forever inscribed his name in the history of world photography.
This photo is recognized all over the world. It can probably be considered the most famous war photograph in the history of mankind. Alexey Berest, Mikhail Egorov and Meliton Kantaria hoisted the Victory Banner over the Reichstag on May 1, when the fighting in Berlin had not yet ended. The photo, of course, was staged, and was taken a day later: on May 2, the photojournalist asked the soldiers to climb the dome of the building with a flag, and these were already other soldiers. Nevertheless, the photograph became famous and for millions of people it still remains a symbol of Victory.
Source - http://lifeglobe.net/
66 years old, New York:
If you photograph war honestly, you end up with anti-war photography.
The truth does not need to be embellished. You just need to say it, and often it is enough to do it once.
Fear is such a fundamental emotion that it is difficult to define. But I can tell you what it does to people. If it paralyzes you, it can kill you. But if it makes you more aware of what's going on around you, it can save your life.
Of course, I never considered myself invulnerable to bullets and shells. My feet are full of shrapnel.
If I could travel back in time and photograph any war? Crusades. The chances of survival would be slim. The scale and means by which wars were fought back then are astounding. The Battle of Hastings would seem simply incredible to a modern observer. And the battles of Alexander the Great, when people fought face to face? It is difficult to understand how they could be forced to do this.
Humanity, of course, has greatly advanced. But in many respects we are still at a very low stage of development, when violence becomes a tool to achieve certain goals. I don't know when we'll get rid of this... if we get rid of it at all.
The main weapons used during the Rwandan genocide were agricultural tools. Machete. Clubs. Axes. Peaks. Face to face. Crowds of helpless people were dying. Children. This is not clear to me. I know it happened. I have seen the consequences and I know that it was all due to fear and hatred. But I don’t understand how it is possible to force so many people to commit such atrocities, as they say, openly. A bomb can kill many people, but it is very impersonal. In Alexander's time, at least, armed men fought armed men. There was some kind of equality. But using weapons against defenseless people is something I just can’t wrap my head around.
I think now I'm not at all the same person I was at the very beginning. I don't even remember what I was like.
If at some point only I can influence the outcome of events, then I stop being a reporter for a while and help people. Several people who were about to be lynched survived because I intervened. I once tried to save a man in Indonesia. People from a mosque in Jakarta were offended that Christians had set up a bingo hall next to the mosque. They believed that bingo was a game of chance, which was against their religious beliefs. Therefore, they attacked the hall and began to kill the Christian guards. When I asked passers-by what happened, one guard ran down the street with a crowd chasing him. I tried to stop the crowd from killing him. Three times they actually stopped. One of them wanted to cut the guard’s throat, but then I knelt down and began to beg him not to do this. And he obeyed. He lowered the knife and helped the guard up. But then the crowd attacked me with threats. They pressed on me and pushed me back. At this time, the others finished off the guard. I think if one of them had hit me, they would have dealt with me at the same time. Then I started taking pictures of the guard again, but they didn’t care. They allowed me to take photographs. But stop yourself - no.
I don't think religion was the cause of most of the conflicts I've reported on. Territories - yes. Or power. Or something else. And religion is only the channel in which they develop.
I'm wearing a blue-gray shirt now, but I would never wear it in a war zone. She may seem like she's in the military. Raise questions. I like to wear white because it keeps me cool and I go to very hot places. Plus, it's a neutral color. It makes you blend in more with your surroundings.
If you want to get in touch with people who are in great grief, who are afraid, who are in despair, you need to do this in a special way. I move a little slow. I speak a little slowly. I let them know that I treat them with respect. By the way you look at people, they can see how good your intentions are. All these little things are noticed by those into whose lives you want to penetrate.
To be in battle, to hear bullets whizzing past your head, to hear shells exploding around you, and to come out of there unharmed is, of course, in a sense very exciting. You experience a powerful rush of adrenaline. But that's not why I do my business. As far as I know, among serious war correspondents there are no such crazy people who go there for the thrill.
There is nothing wrong with ambition in itself. But in dangerous situation it can affect your ability to think clearly.
I'm half deaf. I have bad nerves and my ears are constantly ringing, and sometimes I don’t hear anything at all. I probably became deaf because I didn't put earplugs in my ears. Because what I really wanted to hear was. You want to achieve the maximum intensity of sensations - even if they are too painful.
My work gives very little idea of what it is like to be there.
Hunger and disease are the most ancient weapons of mass destruction. When fields are burned and animals are killed, people become vulnerable. Hundreds of thousands of people have been killed in Somalia using these methods.
Most often my dreams are not connected with what I saw in different places, but with the feelings that I experienced there. I wouldn't like to say anything more about my dreams.
I returned from France on September 10, at about eleven in the evening, and didn’t even bother unpacking my bags: the next day I was leaving again. This morning I was drinking coffee, and suddenly there was a sharp, loud sound outside. The sound was strange and I didn’t understand what it was. I looked out the window and saw the first skyscraper on fire. At first I thought the fire was due to an accident. Of course, I became curious and started unpacking the cameras to go there and take a closer look. But then I heard a second similar sound and saw the second tower catch fire. Then I realized that this was a terrorist attack. And I had a strong suspicion that Osama bin Laden was behind this.
My apartment is near the World Trade Center, I got there in about ten minutes. And again, as always, I ran to the place where everyone else was running. When the North Tower began to fall, I was already standing right under it. The roar was like a waterfall. I looked up and an avalanche of glass and steel was crashing down on me. It was one of the most amazing sights I have ever seen. In a way it was beautiful and I really wanted to take pictures. But I realized that I didn’t have time. It was as if I found myself in hyperspace. There was so much information to absorb, so many decisions to make, so many distances to overcome... It all seems incredible now. I had only a few seconds to hear it, see it, understand that I wouldn’t have time to take a picture, look around for cover and get to it. I noticed that the entrance to the Millennium Hotel was open and rushed into the lobby. It was glazed, I understood that it would be blown to smithereens and I needed to make my way further. I rushed to the elevators and saw open cabin, jumped inside and pressed his back against the wall. At this moment, everything around was shrouded in darkness.
The darkness was complete and absolute. I only knew I was still alive because I was suffocating. I was coughing and gasping for air in the middle of a giant cloud that the whole world could see outside. Then I got down on all fours and crawled - I moved by touch in the dark, sometimes raising my voice to check if there were any wounded nearby. But there was silence all around. Finally I saw flashes, not very bright. At first I couldn't figure out what it could be. But then I realized that it was cars flashing their turn signals, and I realized that I had gotten out into the street. I still didn’t really see anything, but I began to somehow get my bearings and turned north. After some time, light began to seep through the darkness, and I followed this light.
I never part with my cameras. The police tried to kick everyone out of the scene, but I spent the whole day there filming, all the time expecting to be kicked out.
Now one photo touches me to the quick. What was the World Trade Center was reduced to a pile of metal. There is no sky - only dust and smoke. This is a real apocalypse. The picture shows a very small figure of a fireman: he is looking for something in the ruins. But there is no point in describing it in words. All the power is in the picture.
I shot as long as there was enough light and film, until about half past nine. Then he took the film to Time magazine. It was definitely one of the hardest working days of my life. I had to walk several miles to get home. All of Manhattan south of 14th Street was closed. There was no light. Planes flew overhead. There were soldiers everywhere National Guard. There were cordons almost every block. Acrid fumes hung in the air. When I got home there was no electricity or hot water. I lit the candles - a story very familiar to me. I was in a war zone. Only the war came to our home.
I don’t think it’s possible to retire in our profession.
I've never won the lottery, and I'm not very lucky as a photographer. But I’m lucky in the main thing: I’m still alive. Because I take risks every day. Compared to this, any other luck is nonsense.
How do I stay optimistic? Very simple. People who fall into similar situations, still do not stop hoping. If they still have hope, why should I lose it?
Photography as we know it was introduced to the public in the 1840s. It has been proposed as the final image of reality and the eternal conclusion of history - unlike art or prose, photographs are not easily altered or faked. They were used to portray the horrors and truths of war, inform the public about conflicts around the world, and subconsciously instill the importance of national pride and patriotism by demonstrating the bravery and bravery of young soldiers on the front lines. Today, war photography has taken a frightening turn, manipulation and alteration are the order of the day and it is often difficult to confirm their authenticity. Many of the photographs in this collection have been questioned and examined in detail, but their impact on the world has been very powerful, despite doubts and criticism.
This is one of the most famous photographs in the world. It depicts the nuclear attack on Nagasaki, where the Fat Man bomb was dropped on August 9th, 1945. The American bombing of Japan on final stages World War II wiped out three city miles and killed 70,000 people at lightning speed and many more through radiation exposure in the years that followed. At the time, news of the atomic bombing was heartily welcomed in America, reinforced by this image (photo censorship was in place, prohibiting the showing of death and loss of life). Several years later, however, documentaries and photographs were revealed and the world learned of the terrible human tragedy. Since then, this photograph has been used to represent the true nature of war and the dangerous potential of human invention.
This famous photograph shows Dr. Fritz Klein, the camp doctor, standing in a mass grave at the Bergen-Belsen concentration camp. His main responsibility was the selection of prisoners to be sent to the gas chambers. From 1942-1944, Jews, Gypsies, people with disabilities, Soviet military prisoners, homosexuals, Jehovah's Witnesses and other political and religious opponents were brought here by train. Here, after a selection process, prisoners were forced to work for 12-15 hours. The weaker, older and helpless were sent directly to the gas chambers (where everyone eventually ended up). The bodies were disposed of by burying them in mass graves or burning them at the stake.
The Warsaw Ghetto in Poland was the largest in Nazi-occupied Europe and was founded in 1940 to contain 400,000 Jews under barbed wire. Disease, starvation, attacks and murders by guards crippled the inhabitants, who, despite all this, founded underground organizations to manage schools, hospitals, orphanages and recreational facilities. This photo shows the aftermath of the world famous Warsaw Resistance in 1943, in which Nazi forces were attacked with homemade and smuggled weapons. Later, 13,000 people were killed in the ghetto, and the rest were captured and sent to concentration camps. The photo above was taken by a Nazi soldier and was published by the German press with the headline, “Forcibly removed from the pastures.” The photo was later used as evidence against Nazi officials at the Nuremberg trials of 1945-46.
Robert Capa, a Hungarian combat photographer, is famous for the photographs he took during World War II that gave the world a glimpse into the reality of war. This photograph shows the June 6th, 1944 invasion of Nazi-occupied Normandy by British, American, Canadian and Free French troops. Lack of focus is reported as a mistake by a young trainee. Life magazine, for which Capa worked, decided to publish the image anyway because it depicted the efforts of Union troops sailing toward Omaha Beach under artillery fire and machine guns. It was this type of photography that raised national pride and to this day salutes the fallen soldiers of the bloodiest war.
“Loyalist Militiaman at the Moment of Death” is the official title of this photograph, which depicts the moment a militiaman is shot and falls to the ground in almost slow motion. The fallen man is said to be Federico Borrell García, a Spanish Republican anarchist soldier. Until the 1970s, the image was said to be one of the most infamous and striking photographs of the Spanish Civil War. The authenticity of this photograph was later questioned.
This Pulitzer Prize-winning photograph of Eddie Adams is among the most famous war photographs of all time. The man with the weapon is General Nguyen Ngoc Loan, Head of the State Police of the Republic of Vietnam. The person executed is Nguyen Van Lem, a Viet Cong soldier. The story claims that the prisoner was found near a ditch filled with the bodies of 34 police officers and their relatives. The buzz created by this photograph opened a new chapter in the world of photojournalism: “a picture is worth one thousand words.” The image became an anti-war symbol, but Adams responded: “I killed the general with my camera... but what the photograph doesn't say is, 'What would you do if you were a general and caught a bad guy on that hot day? who killed the soldiers and their families?”
This photograph, the newest of the collection, had significant symbolic influence. As a symbol of his all-encompassing power, Saddam's cult of personality captivated Iraqi culture; statues, portraits and posters were built in his honor across the country, and his face was featured everywhere, from the façade of buildings, schools and airports, to the surface of the nation's currency. When Saddam's regime was overthrown in 2003, images of the destruction of a large statue in Baghdad were broadcast on television channels around the world. 
This photo is one of the most creepy and heart-wrenching in modern history. The naked girl in the center, Phan Thai Kim Phuc, is a victim of a South Vietnamese napalm attack. She escapes from the bombed area, literally burning alive. In 1972, South Vietnamese planes, in concert with US military forces, dropped a napalm bomb on the village of Trang, then occupied by North Vietnamese forces. The photo earned photographer Nick Ut a Pulitzer Prize, despite public opinion and President Nixon's doubts about its authenticity. But he adamantly proved the authenticity by releasing details of the small Barxi Hospital in Saigon where 9-year-old Kim Phuc was treated for more than 14 months. The girl survived and became the founder of the Kim Phuc Foundation in 1997, providing medical and psychological assistance to children victims of war.
The Iwo Jima flag raising is a fairly famous war photograph. The flag was raised by five US Marines and one Corpsman on Mount Suribachi in 1945. Few people know that this was the second flag. The first one was too small and could not be seen from afar. Photographer Joe Rosenthal, who won a Pulitzer Prize for his image, arrived just in time for the installation of the second flag.
The world-famous photograph was taken by Evgeniy Khaldei and spread all over the world. In fact, this is a staged photograph taken on the instructions of TASS on May 2, 1945. The real flag was installed the day before, and in addition to it, many other red banners were installed. The photographer brought with him a banner and invited the soldiers he came across to take a dramatic photo. The history of this photograph, which might not have made it to the general public, is also interesting. It was initially rejected because one of the soldiers had a watch clearly visible on each of his wrists. To avoid blaming the soldiers for looting, the photographer removed the watch from the photo before publication.
