Between life and the underground : a study of photography found in Rolling Stone magazine from 1967 to 1972.

In order to consider what the photography used within Rolling Stone magazine contributes to the history of photojournalism, Between Life and the Underground analyzes the aesthetic of the photography and conceptual layouts produced within the magazine. This study looks specifically at the period of 1967 to 1972, a time when mainstream publications like Life magazine ceased production and when over 500 underground publications were piloted. A comparative analysis of the design, economics, and production of both Rolling Stone and the underground publication the Berkeley Barb traces the influence that the underground had on the aesthetic of Rolling Stone’s photography and layout. The role that cover photography played in perpetuating the identity that Rolling Stone wanted to embody is also investigated. The influence that New Journalism had on the production of photojournalism at Life and Rolling Stone is also considered—framed around a comparison of the photographic coverage of the Woodstock Festival of 1969 and the police riots at the Democratic National Convention of 1968. This study concludes that the underground press cultivated a new photographic aesthetic and conceptual technique for laying out photographs which adhered to the ideals of the 1960s—namely informality, which Rolling Stone then adapted to create a profitable magazine.

"A Snake Charmer with a Camera" : Nina Leen's Contributions to Life Magazine: 1940-1972

Nina Leen (c. 1909–1995) was a Russian-born émigré photographer who worked for Life magazine from 1940–1972, contributing photographs to stories published in 374 issues. Leen’s photography received little attention following her death, as her working method, oeuvre, and character depart from those of the archetypal photojournalist. Using digital reproductions of Leen’s photographic prints and negatives from the Life Photo Collection, a full run of Life, and archival documents housed in the Time Inc. Records at the New-York Historical Society, this thesis evaluates Leen’s contributions to both Life magazine and the field of photojournalism. An introduction, literature survey, and methodological description contextualize Leen’s career. Two appendices and a list of figures present images selected in this thesis, and the issues and sections of Life in which Leen’s photographs were published. Three chapters discuss the beginning of Leen’s career and her typical approach to magazine photography, and two chapters analyze the years leading up to Life’s conclusion as a weekly magazine, when Leen held more command over her output.

Between life and the underground : a study of photography found in Rolling Stone magazine from 1967 to 1972.

In order to consider what the photography used within Rolling Stone magazine contributes to the history of photojournalism, Between Life and the Underground analyzes the aesthetic of the photography and conceptual layouts produced within the magazine. This study looks specifically at the period of 1967 to 1972, a time when mainstream publications like Life magazine ceased production and when over 500 underground publications were piloted. A comparative analysis of the design, economics, and production of both Rolling Stone and the underground publication the Berkeley Barb traces the influence that the underground had on the aesthetic of Rolling Stone’s photography and layout. The role that cover photography played in perpetuating the identity that Rolling Stone wanted to embody is also investigated. The influence that New Journalism had on the production of photojournalism at Life and Rolling Stone is also considered—framed around a comparison of the photographic coverage of the Woodstock Festival of 1969 and the police riots at the Democratic National Convention of 1968. This study concludes that the underground press cultivated a new photographic aesthetic and conceptual technique for laying out photographs which adhered to the ideals of the 1960s—namely informality, which Rolling Stone then adapted to create a profitable magazine.

Between Life and the Underground: A Study of Photography Found in Rolling Stone Magazine from 1967 to 1972

In order to consider what the photography used within Rolling Stone magazine contributes to the history of photojournalism, Between Life and the Underground analyzes the aesthetic of the photography and conceptual layouts produced within the magazine. This study looks specifically at the period of 1967 to 1972, a time when mainstream publications like Life magazine ceased production and when over 500 underground publications were piloted. A comparative analysis of the design, economics, and production of both Rolling Stone and the underground publication the Berkeley Barb traces the influence that the underground had on the aesthetic of Rolling Stone’s photography and layout. The role that cover photography played in perpetuating the identity that Rolling Stone wanted to embody is also investigated. The influence that New Journalism had on the production of photojournalism at Life and Rolling Stone is also considered—framed around a comparison of the photographic coverage of the Woodstock Festival of 1969 and the police riots at the Democratic National Convention of 1968. This study concludes that the underground press cultivated a new photographic aesthetic and conceptual technique for laying out photographs which adhered to the ideals of the 1960s—namely informality, which Rolling Stone then adapted to create a profitable magazine.

Making Sense of the World We Live In Editorial Practices and Picturing Science in LIFE Magazine: 1936–1955

Making Sense of the World We Live In examines how editorial practices communicated different images of science to the readers of LIFE magazine between 1936 and 1955. Selected essays published between 1936–1955 in various sections of LIFE, as well as the thirteen issues series, “The World We Live In” published between 1952–1954 serve as the primary sources for this thesis. An introduction, literature survey, and methodology section establish the historical context of science communication and LIFE magazine. An appendix and list of illustrations provide quantitative data and selected images used in this thesis. Three analysis chapters discuss how editorial practices including layout, colour, the role of the photographer, and section placement in LIFE produced different stories of science for specific audiences. These chapters also consider how the story of science was integrated by editors into larger political narratives of American hegemony published in the magazine.

"A Snake Charmer with a Camera" : Nina Leen's Contributions to Life Magazine: 1940-1972

Nina Leen (c. 1909–1995) was a Russian-born émigré photographer who worked for Life magazine from 1940–1972, contributing photographs to stories published in 374 issues. Leen’s photography received little attention following her death, as her working method, oeuvre, and character depart from those of the archetypal photojournalist. Using digital reproductions of Leen’s photographic prints and negatives from the Life Photo Collection, a full run of Life, and archival documents housed in the Time Inc. Records at the New-York Historical Society, this thesis evaluates Leen’s contributions to both Life magazine and the field of photojournalism. An introduction, literature survey, and methodological description contextualize Leen’s career. Two appendices and a list of figures present images selected in this thesis, and the issues and sections of Life in which Leen’s photographs were published. Three chapters discuss the beginning of Leen’s career and her typical approach to magazine photography, and two chapters analyze the years leading up to Life’s conclusion as a weekly magazine, when Leen held more command over her output.

Changing Images of the Democratic Party: an analysis of the aesthetic and philosophical underpinnings of Life's photo-essay "Happy days in Miami"

The purpose of this study was to examine the influence of New Journalism on the photo-essay "Happy Days in Miami" from the 21 July 1972 issue of Life Magazine. The stylistic elements of New Journalism such as scene-by-scene reconstruction, overt stylization, status details and others, are analyzed for their role in the construction of the visual and political narrative utilized in this photo-essay. Its influence on 1960s art photography as embodied by Larry Clark, Danny Lyon and the New Documents exhibition is also considered. This was analyzed through research of the various topics (New Journalism, the Presidential Convention in 1972, Life and 1960s art photography), critical readings of the photographs and original interviews with Ralph Graves, Life's managing editor in 1972 and contributing editor Richard Meryman.

Changing Images of the Democratic Party: an analysis of the aesthetic and philosophical underpinnings of Life's photo-essay "Happy days in Miami"

The purpose of this study was to examine the influence of New Journalism on the photo-essay "Happy Days in Miami" from the 21 July 1972 issue of Life Magazine. The stylistic elements of New Journalism such as scene-by-scene reconstruction, overt stylization, status details and others, are analyzed for their role in the construction of the visual and political narrative utilized in this photo-essay. Its influence on 1960s art photography as embodied by Larry Clark, Danny Lyon and the New Documents exhibition is also considered. This was analyzed through research of the various topics (New Journalism, the Presidential Convention in 1972, Life and 1960s art photography), critical readings of the photographs and original interviews with Ralph Graves, Life's managing editor in 1972 and contributing editor Richard Meryman.

Making Sense of the World We Live In Editorial Practices and Picturing Science in LIFE Magazine: 1936–1955

Making Sense of the World We Live In examines how editorial practices communicated different images of science to the readers of LIFE magazine between 1936 and 1955. Selected essays published between 1936–1955 in various sections of LIFE, as well as the thirteen issues series, “The World We Live In” published between 1952–1954 serve as the primary sources for this thesis. An introduction, literature survey, and methodology section establish the historical context of science communication and LIFE magazine. An appendix and list of illustrations provide quantitative data and selected images used in this thesis. Three analysis chapters discuss how editorial practices including layout, colour, the role of the photographer, and section placement in LIFE produced different stories of science for specific audiences. These chapters also consider how the story of science was integrated by editors into larger political narratives of American hegemony published in the magazine.