Travels G, the Cockney

For Matt A. Marcou & His Family-to-Be, My Parents, Family & Friends, & Subjects, Sponsors, Readers, Writers, Photographers, Editors, Archivists, Publishers, & Sellers Who Cherish the Rich History, Dramatic Stories, & Great Images of the Best Photojournalism & Truest Documentary Writing & Photos. Spirit of America Vol. 87 “That’s why we tell stories – to draw threads from the past into the present.” --Mike Perry. travels g, “To the technical restraints on news coverage must also be added the economic.” --John H. Whale in Journalism and Government–A British View. The Cockney Eye “Street Photographers are a breed apart from other photographers. They have almost no time to make a decision and they must be prepared to snap the picture as soon Bert Hardy (1913-1995) as the subject comes into focus and the brain signals ‘NOW’. A fine instinct for the perfect moment is never enough. The eye and the hand and the brain must coordinate A NEO-DICKENSIAN ‘PICTURE POST’ HERO perfectly and without hesitation. The rest is good street photography.--From a AND SHREWD FRIEND OF THE UNITED STATES bio about Vivian Cherry, which applies to Bert Hardy too, who began his street photography before Ms. Cherry, when famed Dorothea Lange came into her own. SA87 is DvJM’s 172nd book, & w/countless other shorter works by him too, David Joseph Marcou is Wisconsin’s most prolific author. SA87 Athr DvJM, McCain Rally, LaX, 2-15-08 (Photo by Steve Kiedrowski) Cover Photo Credits: 1st US Marines Land on seawall at Inchon, Korea, 9-15-50 (Photo by Bert Hardy4Getty Images); Bert Hardy w/his dogs Lizzie & Kim, Surrey, UK, ca. 11-25-81 (Photo by DvJM4BritNatPrtrtGallery, NPGx126230); Mrs. Bert (Sheila) Hardy & BH Darkroom Mgr. Charles Keeble, London, ca. 2007 (Photo by Martin Reed); John H. Whale, DvJM’s London Sunday Times Editor, ca. 1995 (Ctsy Church Times); Blackpool Showgirls on Railings, 1951 (PhotoByBert Hardy4GettyImages); Bert Hardy & James Cameron-R, Picture Post, Skorea, 1950 (Ctsy Getty Images). SA87 Book Copyright © David Joseph Marcou SA87 Designed, Printed, Bound, & Published by DigiCopy of La Crosse (LaX), WI, April 2019 Retail Price: $24.95.

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Photojournalism Photojournalism
Photojournalism For this section, we'll be looking at photojournalism's impact on shaping people's opinions of the news & world events. Photojournalism From Wikipedia, the free encyclopedia Photojournalism is a particular form of journalism (the collecting, editing, and presenting of news material for publication or broadcast) that employs images in order to tell a news story. It is now usually understood to refer only to still images, but in some cases the term also refers to video used in broadcast journalism. Photojournalism is distinguished from other close branches of photography (e.g., documentary photography, social documentary photography, street photography or celebrity photography) by complying with a rigid ethical framework which demands that the work be both honest and impartial whilst telling the story in strictly journalistic terms. Photojournalists create pictures that contribute to the news media, and help communities connect with one other. Photojournalists must be well informed and knowledgeable about events happening right outside their door. They deliver news in a creative format that is not only informative, but also entertaining. Timeliness The images have meaning in the context of a recently published record of events. Objectivity The situation implied by the images is a fair and accurate representation of the events they depict in both content and tone. Narrative The images combine with other news elements to make facts relatable to audiences. Like a writer, a photojournalist is a reporter, but he or she must often make decisions instantly and carry photographic equipment, often while exposed to significant obstacles (e.g., physical danger, weather, crowds, physical access).
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Lorant's Picture Post
LORANT’S PICTURE POST Michael Hallett Stefan Lorant with Michael Hallett, Lenox Mass, February 1997 photo: Sue Mead ‘What is the use of a book’, thought Alice, ‘without pictures or conversations.’ Lewis Carroll from Alice in Wonderland, 1865 For Heinz K. Henisch (1922-2006) who understood the Lorant enigma, and provided unwavering support, wisdom & wit. The ARTicle Press: Michael Hallett was Founding Publishing Editor for The ARTicle Press, a publishing venture run by the University of Central England's Department of Art (now Birmingham City University, School of Art). The Press published some ﬁfteen scholarly publications and one journal between late-1990 and March 1997. It was very much a one-man show in those early days of the computer using Apple Mac and Pagemaker. Republishing in 2020 The Real Story of Picture Post was originally published in 1994 by The ARTicle Press with copyright being retained by the two authors. Stefan Lorant published much of his later work with his own imprint, Author’s Edition. Now The Real Story of Picture Post is being republished with additions by Michael Hallett under his own imprint, CrabApple Publications. The crab apple is a versatile fruit indigenous to Worcestershire. Published by CrabApple Publications, Worcester. U.K. Designed with Pages using Helvetica Neue fonts. Copyright © 2020 Michael Hallett All rights reserved. The scanning, uploading and electronic sharing of any part of this book without the permission of the author is unlawful piracy and theft of the author’s intellectual property. Thank you for your support of the author’s rights. ISBN see back cover First edition / v2.3a / September 10, 2020 The author can be contacted at [email protected] The dedication that Stefan Lorant wrote on Michael Hallett’s copy of The Real Story of Picture Post The Real Story of Picture Post (original text) Michael Hallett, Principal Lecturer, School of Theoretical & Historical Studies in Art & Design, University of Central England.
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Introduction
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Reading Magazines: Stefan Lorant and Picture Post, 1939-1941 : A
Ryerson University Digital Commons @ Ryerson Theses and dissertations 1-1-2012 Reading Magazines: Stefan Lorant And Picture Post, 1939-1941 : A Study Of The icP ture Editor's Work From The Archive Of Modern Conflict's Collection Hila Cooper Ryerson University Follow this and additional works at: http://digitalcommons.ryerson.ca/dissertations Part of the Photography Commons Recommended Citation Cooper, Hila, "Reading Magazines: Stefan Lorant And Picture Post, 1939-1941 : A Study Of The icturP e Editor's Work From The Archive Of Modern Conflict's Collection" (2012). Theses and dissertations. Paper 1304. This Thesis is brought to you for free and open access by Digital Commons @ Ryerson. It has been accepted for inclusion in Theses and dissertations by an authorized administrator of Digital Commons @ Ryerson. For more information, please contact [email protected]. READING MAGAZINES: STEFAN LORANT AND PICTURE POST, 1939-1941. A study of the picture editor’s work from the Archive of Modern Conflict’s Collection Hila Cooper BA Honors University of Haifa, 2007 A thesis presented to Ryerson University and The Archive of Modern Conflict (AMC), Toronto in partial fulfillment of the requirements of Master of Arts in the Program of Photographic Preservation and Collections Management Toronto, Ontario, Canada, 2012 © Hila Cooper i AUTHOR’S DECLARATION PAGE I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I authorize Ryerson University to lend this thesis to other institutions or individuals for the purpose of scholarly research.
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Bibliography
Bibliography Newspapers and Periodicals Daily Express Daily Herald Daily Mail Daily Telegraph The Economist Manchester Guardian News Chronicle The New Statesman and Nation The Observer The Spectator The Sunday Times The Times Tribune The following publications were also consulted: Christian Science Monitor, Daily Mirror, Daily Worker, Evening Standard, New York Times, Washington Post, Yorkshire Post. (Numerous other newspapers and periodicals were examined for 1946: Daily Dis- patch, Daily Sketch, Evening News, Financial Times, Intelligence Digest Labour Monthly, News of the World, The People, The Star, Sunday Dispatch, Sunday Express, Sunday Graphic. The reference to Greek events in these publications was limited and it was decided to focus research on the main thirteen papers first mentioned). © The Editor(s) (if applicable) and The Author(s) 2020 325 G. Koutsopanagou, The British Press and the Greek Crisis, 1943–1949, Palgrave Studies in the History of the Media, https://doi.org/10.1057/978-1-137-55155-9 326 BIBLIOGRAPHY Unpublished Sources British State Papers at the Public Record Office, London. Written Archives (Broadcasting House London; Caversham Park, Reading). Department of Press and Information, Ministry of Presidency of Greek Govern- ment, Athens. Published Sources Official Publications Parliamentary Debates, House of Commons, Hansard, Official Report (Hansard), Fifth Series, vol. 402 (1944), vol. 406 (1945), vols. 413, 416 (1946). Foreign Relations of the United States. Diplomatic Papers (US Government Printing Office, Washington) 1944, vol. iv (1966) and vol. v (1965); 1945, The Conference of Malta and Yalta (1955); 1945, The Conference of Berlin (The Potsdam Conference), vol. ii (1960); 1945 vol. ii (1967); vol. viii (1965); 1946, vol.
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Paris Match – S´Wiat: East/West Image Transfer in the Weekly Magazine S´Wiat (1951–1969) and the Impact of the Magnum Style on Photo-Reportage in Poland
INTERNATIONAL JOURNAL FOR HISTORY, CULTURE AND MODERNITY www.history-culture-modernity.org Published by: Uopen Journals Copyright: © The Author(s). Content is licensed under a Creative Commons Attribution 4.0 International Licence eISSN: 2213-0624 Life – Paris Match – S´wiat: East/West Image Transfer in the Weekly Magazine S´wiat (1951–1969) and the Impact of the Magnum Style on Photo-Reportage in Poland Margarete Wach HCM 5 (1): 101–129 DOI: 10.18352/hcm.525 Abstract Polish photo-reportage of the 1950s and 1960s was crucially shaped by the illustrated weekly newspaper S´wiat (The World, 1951–1969). The magazine was conceived in the heyday of Stalinism and the social- ist realist doctrine to keep pace with its Western counterparts Life, Paris Match or Picture Post during the Cold War. In the new political system, the social role of photography was to agitate, but the photo- editor-in-chief, Władysław Sławny (1907–1991), designed S´wiat in the style of Henry Cartier-Bresson’s ‘decisive moment’ aesthetics. He published the works of Magnum photographers and other Western colleagues. This article analyzes the massive transfer of knowledge, human resources and photography between Poland and France which flowered in the 1950s. The transcultural exchange was implemented with the aid of personal contacts and editorial practice that promoted photo transfer from the West and corresponded with the atmosphere of the ‘thaw’ after Stalin’s death. It shows that photographers trav- elled eastwards as well as westwards, and that the Iron Curtain was visually more permeable in both directions than has previously been suggested.
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Cover of the Manuscript For
©2010 COPYRIGHT FOR THIS WORK IS HELD BY DAVID J. MARCOU AND MATTHEW A. MARCOU CoverAll Picture of the Manuscript Post photos, for 1937: -1957, are derived from the Hulton Collection and are provided courtesy of Getty Images. Other illustrations for this text can be found at the end of this book in the appendix. CREDIT MUST BE GIVEN TO DAVID J. MARCOU AS AUTHOR All the Best Britain’s Picture Post Magazine, Best Mirror and Old Friend to Many, 1938-57. First cover of Picture Post Magazine, Oct. 1, 1938 taken by Kurt Hutton; Photo courtesy of Getty Images #74218345 Researched and Written by David J. Marcou. Original Draft‘s Copyright©1993 David J. Marcou and Matthew A. Marcou. Final Draft‘s Copyright©2010++ David J. Marcou and Matthew A. Marcou. For my parents (David Ambrose and Rose Caroline Marcou), my son (Matthew Ambrose Marcou), the rest of our family, our friends, all my editors, publishers, students, teachers, as well as the diverse and talented people (living or deceased) who made a profound contribution to the art of the photo-essay with Picture Post -- especially Stefan Lorant, Sir Edward Hulton, Sir Tom Hopkinson, Bert and Sheila Hardy, James Cameron, Nachum Tim Gidal, Robert Kee, Matthew Butson (of Getty Images), and Jon Tarrant, former editor of the British Journal of Photography, the staffs of the La Crosse Public Library (the online publisher for this text, with the UW-La Crosse Library), Wisconsin Historical Society, National Portrait Gallery of Britain, the Smithsonian Institution, the Museum of Modern Art, the International Center of Photography, the George Eastman House Library, the British Museum, the national libraries of South Korea, Britain, France, Ireland, the Philippines, Australia, and America, and all those who assist the lives of myself and my extended family.
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