If you ask a photographer’s opinion of the most influential photographs of all time, you will probably get a list of 5-10 images. Of course, we will each have a slightly different list but most of us will find our lists well-represented in this book.
‘100 photographs’ (Dyer, 2015) is the book of the website of TIME’s project to assemble the most influential photographs of all time (or at least since 1826, which is when time started for photography – and, yes, the Niepce rooftops image is here).
There is no formula that makes a picture influential. Some images are on our list because they were the first of their kind, others because they shaped the way we think. And some made the cut because they directly changed the way we live. What all 100 share is that they are turning points in our human experience. (100photos.time.com)
An influential photograph is not necessarily a good one – the book includes the 2014 Oscars selfie yet has nothing from Ansel Adams or Walker Evans. It is also rather US-centric (unsurprisingly given the source) and appears biased toward more recent images. In part, this is because there are overwhelmingly more photographs taken since the birth of digital than before (see previous post) but I suspect the same kind of bias that packs lists of ‘the ten best films (or songs, albums or whatever) of all time’ with recent examples.
The book is divided into three parts, Icons, Evidence and Innovation.
Icons are the images that stick to your consciousness in a way that a mere photograph does not. Examples are Dorothea Lange’s ‘Migrant Mother’ (presented here, rather than in the ‘Evidence’ section), Joe Rosenthal’s flag-raising on Iwo Jima or – more quirkily – Betty Grable’s legs and the vertigo-inducing ‘Lunch atop a Skyscraper’
Evidence is the largest section and contains the photos that say “This is happening now”. From Gardner’s 1862 ‘The Dead of Antietam’ which brought the reality of the America Civil War home to New York society, through Nick Ut’s napalm girl which did the same for Vietnam to more recent images of famine in Africa, these are the photographs that changed public perception and, indirectly, changed the world. We also see the rise of the citizen-journalist with Filo’s Kent State shooting and Tami Silicio’s defiance of the ban on showing flag-draped coffins.
Innovation is the shortest and, perhaps, the lightest section and covers the development of photography itself and of photo-journalism. [If I may ride a personal hobby-horse for a moment – while the Niepce rooftops picture and Daguerre’s Boulevard du Temple are landmark early images, why is there nothing from Fox Talbot? After all, the daguerrotype was a technological blind alley while the calotype ushered-in the negative-positive workflow that dominated the film photography era and which made photographs infinitely reproducible, therefore democratic and influential.] This section includes Muybridge’s horse, Röntgen’s X-rays and the Apollo 8 ‘Earthrise’ picture which showed us just how delicate our planet is.
I have referenced 18 images, which means I have missed 82. None of them is trivial; all repay viewing, but I have to stop somewhere.
Having said, in the first paragraph, that most of us will find our personal lists well-represented I would go further and say that, after reading this book, most of us will add a few images to our lists. I know I did.
Dyer, G. (ed.) (2015) 100 photographs: The most influential images of all time. United States: TIME
TIME (s.d.) TIME’s 100 most influential images of all time. [online at:] http://100photos.time.com (Accessed: 13 February 2017).