Glass plate negative made by Walter J. Hussey, 1885-1910. Washington DC as seen from the top of the Washington Monument.
A view from the observation deck at the top of the Washington Monument looking east down the north side of the future National Mall. The enormous Central Market on B Street, NW (renamed Constitution Avenue in 1931) covering two blocks between 7th and 9th Streets, NW and the large Baltimore and Potomac Railroad Station17 at 6th and B Streets, NW are visible in this image, as is the large white Patent Building (now the Donald W. Reynolds Center for American Art and Portraiture) and the Pension Building (now the National Building Museum). Taken in December 1889.
The collection in the Photographic History Collection consists of over two hundred glass plate negatives made by Walter J. Hussey (1865-1959). These glass plate negatives consist of daily life in and around Mount Pleasant, Ohio, Mr. Hussey's friends and family, studio portraits, his trips to the Washington, D.C. area, and Florida.
Glass plate negative made by Walter J. Hussey, 1885-1910. The United States Capitol building in the snow, east front, Washington DC.. Taken in December 1889.
The collection in the Photographic History Collection consists of over two hundred glass plate negatives made by Walter J. Hussey (1865-1959). These glass plate negatives consist of daily life in and around Mount Pleasant, Ohio, Mr. Hussey's friends and family, studio portraits, his trips to the Washington, D.C. area, and Florida.
With her camera, Lisa Law documented history in the heart of the counterculture revolution of the 1960s as she lived it, as a participant, an agent of change and a member of the broader culture. She recorded this unconventional time of Anti-War demonstrations in California, communes, Love-Ins, peace marches and concerts, as well as her family life as she became a wife and mother. The photographs were collected by William Yeingst and Shannon Perich in a cross-unit collecting collaboration. Together they selected over two hundred photographs relevant to photographic history, cultural history, domestic life and social history.
Law’s portraiture and concert photographs include Bob Dylan, The Beatles, Lovin Spoonful and Peter, Paul and Mary. She also took several of Janis Joplin and her band Big Brother and the Holding Company, including the photograph used to create the poster included in the Smithsonian’s American Art Museum’s exhibition 1001 Days and Nights in American Art. Law and other members of the Hog Farm were involved in the logistics of setting up the well-known musical extravaganza, Woodstock. Her photographs include the teepee poles going into the hold of the plane, a few concert scenes and amenities like the kitchen and medical tent. Other photographs include peace rallies and concerts in Haight-Ashbury, Coretta Scott King speaking at an Anti-War protest and portraits of Allen Ginsburg and Timothy Leary. From her life in New Mexico the photographs include yoga sessions with Yogi Bhajan, bus races, parades and other public events. From life on the New Buffalo Commune, there are many pictures of her family and friends taken during meal preparation and eating, farming, building, playing, giving birth and caring for children.
Ms. Law did not realize how important her photographs were while she was taking them. It was not until after she divorced her husband, left the farm for Santa Fe and began a career as a photographer that she realized the depth of history she recorded. Today, she spends her time writing books, showing her photographs in museums all over the United States and making documentaries. In 1990, her video documentary, “Flashing on the Sixties,” won several awards.
A selection of photographs was featured in the exhibition A Visual Journey: Photographs by Lisa Law, 1964–1971, at the National Museum of American History October 1998-April 1999.
Henry Horenstein's photographs of fans swarming Ernest Tubb (1914-1984) was a familiar scene. Fans had many opportunities to see, hear, and hug Tubb. Between the early 1960s and 1982, he worked 150 to 200 shows each year.
With her camera, Lisa Law documented history in the heart of the counterculture revolution of the 1960s as she lived it, as a participant, an agent of change and a member of the broader culture. She recorded this unconventional time of Anti-War demonstrations in California, communes, Love-Ins, peace marches and concerts, as well as her family life as she became a wife and mother. The photographs were collected by William Yeingst and Shannon Perich in a cross-unit collecting collaboration. Together they selected over two hundred photographs relevant to photographic history, cultural history, domestic life and social history.
Law’s portraiture and concert photographs include Bob Dylan, The Beatles, Lovin Spoonful and Peter, Paul and Mary. She also took several of Janis Joplin and her band Big Brother and the Holding Company, including the photograph used to create the poster included in the Smithsonian’s American Art Museum’s exhibition 1001 Days and Nights in American Art. Law and other members of the Hog Farm were involved in the logistics of setting up the well-known musical extravaganza, Woodstock. Her photographs include the teepee poles going into the hold of the plane, a few concert scenes and amenities like the kitchen and medical tent. Other photographs include peace rallies and concerts in Haight-Ashbury, Coretta Scott King speaking at an Anti-War protest and portraits of Allen Ginsburg and Timothy Leary. From her life in New Mexico the photographs include yoga sessions with Yogi Bhajan, bus races, parades and other public events. From life on the New Buffalo Commune, there are many pictures of her family and friends taken during meal preparation and eating, farming, building, playing, giving birth and caring for children.
Ms. Law did not realize how important her photographs were while she was taking them. It was not until after she divorced her husband, left the farm for Santa Fe and began a career as a photographer that she realized the depth of history she recorded. Today, she spends her time writing books, showing her photographs in museums all over the United States and making documentaries. In 1990, her video documentary, “Flashing on the Sixties,” won several awards.
A selection of photographs was featured in the exhibition A Visual Journey: Photographs by Lisa Law, 1964–1971, at the National Museum of American History October 1998-April 1999.
When the Korean War broke out, Mydans was coming to the end of his assignment in Tokyo as TIME-LIFE bureau chief. He was in New York doing a radio program on Korea when, right before going on the air, a reporter told him that North Korea had invaded South Korea. As soon as he got the news, Mydans made a call to his supervisor at LIFE and was told to prepare to return to Asia as soon as he finished the interview.
David Douglas Duncan was working in Japan at the time and flew to Korea. Once General MacArthur flew in from Tokyo, Duncan introduced himself explaining that he was with LIFE magazine and that he would be replacing Carl there. MacArthur replied that he was welcome there, but he was not replacing Mydans since he was already on his way back from New York.
In an interview by Philip B. Kunhardt Jr., Mydans was asked which photographers he admired most. Among the photojournalists, Duncan was his number-one choice. The reasons are as follow: Duncan is a good photographer, a photojournalist of the first order, a storyteller, a compassionate man, a courageous man. In Carl's own words, "My years have been spent as a photojournalist, and a photojournalist is a storyteller—that is what I am, a storyteller. And David is a storyteller."
David Douglas Duncan was a World War II Marine veteran. From July 1950 to January 1951, he covered the Korean War for LIFE magazine, focusing mainly on the Marine Corps. Most of the images can be found in his book, This Is War! A Photo-Narrative in Three Parts (1951).
Amish 10, Lancaster County, PA, black and white pigment print (IRIS print) by Robert Weingarten, 7/25, printed by Nash Editions (blind stamp, lower left corner), printed on IRIS 3047. Recto: Numbered and signed. Verso: titled and dated. Stucco wall, with silhouette of Amish woman behind diamond patterned window grate in center; row of foot-powered scooters with baskets lean against wall.