The extraordinary history of National Geographic photography spans more than a hundred years and tens of thousands of unforgettable pictures, a history never before fully presented. Since January 1896, when the subtitle "An Illustrated Monthly" was first added to the magazine's masthead, the Geographic has maintained a tradition of photojournalistic excellence that continues to set new standards, both artistic and technical. With the publication of startlingly unique photographs from great explorations sponsored by the Society, such at Robert Peary's turn-of-the-century Arctic expeditions. Hiram Bingham's discovery of Machu Picchu, early panoramas of the American West by William Henry Jackson, Joseph Rock's rare scenes of inner China in the 1920s, the first bird's-eye views from stratospheric balloons, and never-before-seen images from the earliest voyages beneath the sea, the National Geographic has been at the forefront of presenting the world in all its magnificent variety.
In 1999, the National Geographic Society asked six authors in the field of photography -- respected curators, award-winning writers, distinguished university professors -- to discuss what they regard as the significant accomplishments of National Geographic and place them within the greater context of the history of photography. Era by era, these experts offer analysis and commentary on the pivotal role played by the Geographic in the development of this very special kind of photojournalism. These experts have assembled a wonderfully varied representation of great photographs from the Society archives -- many previously unpublished -- and they further highlight important historical developments in special portfolios devoted to the milestones et each period: from the magazine's first color photographs in 1910 to the first color underwater pictures in 1927 to the cutting-edge technologies of today and the issues they present, and more.
Ferdinand Protzman wrote the chapters titled, "1971-1990: Realism and Individuality," and "Photographers with an Edge--The Personal Viewpoint."
Excerpt from "Realism and Individuality,"
"Thrilled as the were to join one of America's premier publications, the young photographers nonetheless brought their own ideas about how to do the job and, in some cases, their own agenda. (Sam) Abell, (William Albert) Allard, and the others were indeed generalists of uncommon ability. But they were devoted to honing their personal styles and pursuing areas of special expertise or interest. Such notions were unprecedented and borderline heretical at the National Geographic Society.
Precedent didn't cow the new photographers. Within the context of staying employed at the Geographic, they were going to do their own thing. Through the sheer force of talent, intellect, energy and resolve, they would make journalistic photos that told a story but were as well works of art clearly marked by the artist's stylistic signature. In addition to changing the style and substance of Geographic photography, their ideas would alter the way its stories were conceived, authored, edited and presented. The changes would be gradual and subtle but significant. There would be no revolution at the Geographic. "The real evolution started ticking in the 1970s and '80s and continues to this day," says Allard. "It's an evolution, not a revolution. There's never been anything revolutionary about this place."
As that evolution gained steam, Allard and others would often chafe at the slow pace of change. There would be struggles, some bitter, particularly over the selecting of pictures to illustrate a given story. But from 1970 to 1990, realism, personal styles and specialization would thrive under (photo editor) Bob Gilka. The man who wasn't looking for artists had filled his staff with them. His successors, Rich Clarkson and Tom Kennedy, would add even more."
Buy this book at Amazon
