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    ‘A vivid distillation of a deeply fractured country’: a history of the United States in nine photographs

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    The American photographer Peter van Agtmael experienced a life-changing moment, aged 19, when he happened on a copy of Magnum Degrees, a photobook published in 2000 of dramatic images from the previous decade.“I got an instantaneous education in the beauty, violence, mystery, complexity and simplicity of photography,” he writes in his afterword to Magnum America, a much bigger, more mysterious and complex compendium of photographs spanning nine decades, from postwar 1940s to the present day.Magnum was formed as a cooperative by a group of renowned war photographers, including Robert Capa and Henri Cartier-Bresson, in 1947. It’s cooperative nature was initially a reflection of its founders’ stoical postwar optimism in the face of the horrors and traumas they had witnessed, but also their shared spirit of creative independence.Magnum America traces the nation’s often turbulent journey from those tentatively optimistic postwar years to the existential anxiety of the present political moment in which democracy itself hangs in the balance. Though punctuated by celebrated portraits and observational series on ordinary American lives, it is the hard-hitting photojournalism that arrests, from Capa’s blurred but powerful images from the D-day landing at Omaha beach to Van Agtmael’s eye-of-the-storm reportage of the siege of the Capitol by Trump supporters in 2021.Van Agtmael and his fellow editor, the curator and feminist academic Laura Wexler, have not attempted to create a definitive visual history of the United States as reflexed through the lenses of Magnum photographers, but instead deftly explore ideas of history, culture, myth and national identity. The book comprises 600 images – some famous, some relatively unknown – culled from a total of 227,450. The selection here reflects that mix, but concentrates on images of conflict and political drama that are pertinent to today’s fraught pre-election moment.The book is also a revealing social history of Magnum itself: the ideal and the often problematic reality. For too long, it reflected the predominantly white, male world of photojournalism, the exceptions being pioneers such as Eve Arnold, Martine Franck, Inge Morath and, later, Susan Meiselas. And, though Magnum photographers made some of the most memorable images of the black civil rights struggle in the 1960s, it wasn’t until 1988 that Eli Reed became the first black photographer to enter the Magnum fold. That irony went unnoticed for a long time. Today, Magnum is a diverse organisation, but it is its relevance – and, by extension, photojournalism’s role – that is also at stake in a world of relentless image-making and instant image-dissemination, an environment unimaginable to its founders. The ongoing carnage in Gaza enters our consciousness daily on social media, where local photojournalists as well as ordinary people with mobile phones bear witness at great risk in the midst of an ongoing humanitarian disaster. Not one photojournalist from Magnum or any other western photo agency has reported from Gaza because of Israel’s refusal to admit even embedded members of the international media. The integral act of bearing witness, which is at the core of Magnum’s collective being, continues just as powerfully all the same. The next big volume of retrospective Magnum images may have to find a way of grappling with that dilemma.1940s: Robert CapaAmerican troops landing on Omaha beach, D-day, Normandy, France, 6 June 1944View image in fullscreenOn 6 June 1944, Robert Capa was one of a handful of photographers granted permission to cross the English Channel with allied forces during the D-day operation to liberate occupied France. He travelled with American soldiers from E Company of the 16th Infantry Regiment. This blurred but evocative image was taken in the immediate wake of their arrival at Omaha beach, where they were met with cannon and small arms fire from embedded German troops as they leapt off their landing crafts into cold, choppy waters. It remains one of the most visceral images of that pivotal, but at times chaotic, operation, during which about 4,440 allied soldiers lost their lives and close to 6,000 were wounded.Intriguingly, the circumstances in which the 11 images that comprise Capa’s reportage from Omaha beach were created – which he described in characteristically self-mythologising fashion in his memoir, Slightly Out of Focus – have recently been contested. Likewise his contention that they were all that remained of 106 pictures he sent to Life magazine on his return to England, the rest having been mysteriously destroyed after being left too long at a high temperature by an unfortunate lab assistant who was processing them.Whatever the truth, the photographs that were taken under extreme duress during his relatively short time on the beach – he made it on to a departing boat after a severe panic attack in which his hands were shaking so badly he could not reload his camera – are a powerful and up-close record of that day’s tumultuous events. There have been several attempts to identify the “soldier in the surf”, with Private Huston “Hu” Sears Riley the most likely contender. That he has not been definitively identified lends another level of poignancy to the image.Capa, one of Magnum’s founders, was arguably the most revered photojournalist of the 20th century. His most famous quote epitomised his cavalier approach: “If your pictures aren’t good enough, you’re not close enough.” In 1954, 10 years after this photograph was taken, he was killed, aged 40, by a landmine in Vietnam, while covering the first Indochina war.1950s: Elliott ErwittWilmington, North Carolina, 1950View image in fullscreenElliott Erwitt was invited to join Magnum by Robert Capa in 1953. Having studied photography and film-making at college in California, Erwitt, aged 25, had already made a name for himself as an editorial photographer for various commercial magazines. He would go on to become one of the world’s most famous image-makers, best known for his striking, slightly surreal pictures of the everyday. His similarly offbeat portraits of dogs have been the subject of five photobooks to date. It is fair to say that Erwitt’s dedication to being, as he put it, “serious about not being serious” has tended to shift attention away from his more unsettlingly powerful images. One of the most rawly observant is his photograph of a grief stricken and bewildered Jackie Kennedy at her husband’s funeral.His photograph Wilmington, North Carolina, 1950 possesses a resonance that is at odds with its neutral geographical title. Like many images in Magnum America, it captures a significant moment, simultaneously evoking the darkness of the US’s past and signalling a turbulent future of hard-won progress. The tentative beginning of the civil rights movement was still four years away when this picture was taken, and it was 14 years before that struggle achieved one of its seminal victories when the passing of the Civil Rights Act in 1964 outlawed segregation. The separate drinking fountains, marked “White” and “Colored”, the one modern and sleekly designed, the other makeshift and worn, speak of a time not that distant when discrimination was a given in certain states. The face of the man crouching over the sink beneath the Colored sign is blurred, and his stance suggests he is looking towards the other fountain that is so close yet out of bounds. As a signifier of the postwar era of US segregation in the south, Erwitt’s grainy image remains starkly affecting and deeply symbolic.1960s: Paul FuscoRobert Kennedy funeral train, USA, 1968View image in fullscreenIt was a year of sustained social and political turbulence in the US, the war in Vietnam dividing the country across generational lines and provoking widespread protests that often culminated in violence. The conflict on the streets reached a climax of sorts at the Democratic convention in Chicago in August 1968, when police brutally attacked activists and bystanders, the violence captured on TV cameras and broadcast nationally on news reports.By then, the already divided nation had been traumatised by the recent assassinations of two progressive leaders: the black civil rights figurehead Martin Luther King Jr and the Democratic presidential candidate Robert F Kennedy. Paul Fusco boarded the train taking Kennedy’s body from New York to Washington focused on how he would cover the senator’s state funeral at Arlington cemetery for Look magazine. When the train emerged from a long dark Manhattan tunnel into daylight, he was taken aback by what he saw. Ordinary citizens, young and old, had gathered in clusters by the railway track, standing in silent homage to the young politician whose death, like his life, had echoed that of his older, more famous brother, President John F Kennedy.The train moved slowly, perhaps out of respect for the dead senator, taking eight hours rather than the usual four to complete its journey. Along the entirety of the route, people congregated trackside in their summer clothes. Fusco shot about 2,000 photos en route to Washington. In them, he freeze-framed for posterity a nation in mourning: families and friends holding hands, men standing to attention to salute, a woman kneeling in prayer. Mostly, though, a seemingly endless succession of ordinary Americans of every race, creed and colour gaze upwards as the train trundles past from city to suburb and on through sun-dappled rural neighbourhoods, their collective silence palpable in every frame.At the time, the editors of Look bafflingly decided not to publish any of Fusco’s extraordinary funeral train series. After the magazine ceased publication in 1971, they remained unseen for another 30 years, consigned to the vast archive of the Library of Congress until they were uncovered by a Magnum researcher. Almost six decades on, they evoke another now distant US, one united in grief but also, as Fusco later put it, “grateful for the commitment and hope Bobby nurtured in the legions of the poor, the black and countless other forgotten Americans”.1970s: Alex WebbNixon resignation, Washington DC, 1974View image in fullscreenOn 8 August 1974, at 9pm, Richard Nixon, who was facing impeachment and removal from office for his role in the Watergate scandal, announced that he was resigning as president of America. He was the first and as yet only US head of state to do so. “As president,” he told the country in a live television broadcast from the White House, “I must put the interests of America first.”The evidence of his misdemeanours, as uncovered by the Washington Post reporters Bob Woodward and Carl Bernstein with the help of an anonymous source known as “Deep Throat”, suggested that sentiment had not been foremost in his mind two years earlier, when a break-in had occurred at the Watergate offices of the Democratic National Committee in Washington DC. It had been carried out by a group devoted to Nixon’s re-election, which included his former close associate G Gordon Liddy. Along with six others, Liddy was subsequently jailed for his part in the burglary.Woodward and Bernstein’s exhaustive investigation also uncovered evidence of wiretaps of the phones of those Nixon considered his most dangerous enemies. The break-in and cover-up was exposed in detail in the televised Watergate hearings that by turns enthralled and appalled the US public over 51 days in 1973.That Nixon hung on in office as long as he did was testament to his tenacity as well as his sense of entitlement. Tricky Dicky, as he came to be known, escaped the humiliation of impeachment and a possible prison sentence and was subsequently pardoned by his successor, Gerald Ford.When the news of his resignation broke, Alex Webb evoked the country’s collective response in his image of a single, anonymous individual intensely perusing the Washington Post on the streets of the capital. The front page headline, “Nixon Resigns”, resonates across the years, through the subsequent impeachments of Bill Clinton and Donald Trump, as well as the turbulence of the latter’s first term of office, the incendiary nature of his departure from it, and the possibility of his imminent return. “It changed history,” Woodward recently said of the crimes he helped to uncover. “It was a red light for presidents.” We may find out soon enough if that is still the case.1980s: Susan MeiselasUS/Mexican border, 8am: undocumented workers discovered in a “drop off” site, Interstate 5, Oceanside, California, 1989View image in fullscreenThroughout his 2016 election campaign, Donald Trump repeatedly promised his faithful that he would construct “a big beautiful wall” between the US and Mexico, one that stretched across its 2,000-mile length, thus ending once and for all the flow of illegal migrants that, he claimed, threatened the security and identity of the US. The construction of a border wall was already well under way long before Trump began his campaign, with more than 600 miles of the southern border barricaded and protected by immigration authorities. It signified the strategy of deterrence through military-style policing that had been officially sanctioned by President Clinton in 1995.This photograph by Susan Meiselas was taken in 1989, when the border was more porous and economic migrants regularly made the crossing, mainly to do the myriad low-paid menial jobs that helped keep the American, and in particular the Californian, economy afloat. By then, Meiselas had made her name with her documentary reportage from the long civil war in El Salvador and the Nicaraguan revolution.For her series Crossings, she worked with the migrants and the border security patrols tasked with apprehending them. Many of those sent back to their homeland would try to enter again by different routes, such was their dedication to the dream of reinventing themselves in the US. This image dramatically evokes the precariousness of the immigrant journey by capturing the moment some undocumented workers are discovered by a border patrol officer at the drop-off site they’ve been left at by smugglers after crossing the border. “When people are coming across the border, they are giving up on their homeland,” she said later of this photo and others like it. “That’s a very hard thing to do. There’s an uncertainty; maybe it’s that uncertainty that you are seeing.”1990s: Eli ReedMembers of the Nation of Islam among the ruins of the Rodney King riots, Los Angeles, California, 1992View image in fullscreenThe Magnum archive is rich in memorable images of the struggle – and solidarity – of African American activists during the civil rights era by the likes of Leonard Freed, Burt Glinn, Bruce Davidson and Danny Lyon. It wasn’t until 1988, 41 years after the agency’s formation, that Eli Reed became the first black member of the organisation. “By signing him on, the agency granted loftiness to its existence,” Gordon Parks would later attest. Four decades earlier, in 1948, he had made a similar breakthrough when he became Life magazine’s first black staff photographer.From the moment he took up a camera as a young man, Reed’s ambition has been to capture the full range of black people’s experience, from the everyday to the politically seismic, the intimately tender to the collectively traumatic. To this end, his book Black in America, published in 1997, is punctuated throughout with moments of tentative optimism but also tempered by a deep anger and frustration that Reed, an activist with a camera, shared with many of his subjects.This striking image was made in the immediate aftermath of the riots in Los Angeles that followed the acquittal of four LAPD officers who had been captured on camera a year earlier brutally beating a young black man, Rodney King. It features three besuited members of the Nation of Islam, a black nationalist organisation that believes in the formation of a separate state for African Americans within the US. Despite their extremist views, they are regarded by some in the black community as role models who uphold the traditional values of discipline and self-respect, while espousing self-determination as the only alternative to endemic racism.Here, the three young men stand, alert and yet seemingly unconcerned by the proximity of Reed’s camera, in front of the ruins of a building destroyed in the riots. The stark contrast between their aura of calm authority and the wreckage that signifies chaos and disorder lends the image an edgy complexity. One of the underlying questions posed by Reed’s immersive reportage is how the black community should respond to often murderous police brutality. It has been answered in frequently dramatic fashion in the decades since, most resoundingly in the rise of the Black Lives Matter movement, which became a global phenomenon after the police killing of George Floyd in 2020.2000s: Thomas HoepkerYoung people during lunch break in Brooklyn with the twin towers burning across the river, 11 September 2001View image in fullscreenThe terrorist attack on the twin towers in lower Manhattan on the morning of 11 September 2001 was captured by several Magnum photographers, and their images of the cataclysm and its aftermath were published in a large-format book, New York September 11, less than two months after the event. The exception was Thomas Hoepker’s complex and, for some, provocative portrait of a group of young people gathered by the river’s edge in Williamsburg, Brooklyn, while a dense plume of grey smoke billows from the familiar skyline in the middle distance. The image so disoriented its creator that he chose not to include it in the book, waiting until 2006, the fifth anniversary of the attack, before publishing it.Hoepker’s initial anxiety, it turned out, was justified. After its belated publication, Hoepker wrote a short article in response to a column in the New York Times that decried his “shocking” photograph and suggested that the five young people in it were relaxing, having already started to “move on” from the shock and horror of the attack. Hoepker admitted that he had initially found the image “ambiguous and confusing”, and had swiftly come to the conclusion that publishing it so close to the actual event “might distort the reality as we had felt it on that historic day”.This, in turn, prompted one of the people in the photograph, Walter Sipser, to respond, accusing both Hoepker and the NYT columnist of distorting his reality. He pointed out that the three people chatting to him and his girlfriend were passing strangers, the group having found themselves “suddenly bound together… in the aftermath of a catastrophe”. Rather than feeling relaxed, they were, he explained, united “in a profound state of shock and disbelief, like everyone else we encountered that day”. A scene that had initially appeared “ambiguous and confusing” to the photographer felt cynically manipulative to the subjects, for whom it is a stolen and distorted moment in which nothing but the unimaginable horror unfolding in the background is what it seems. Here, the idea of bearing witness that has traditionally underpinned photojournalism in general, and Magnum in particular, seems to collapse in on itself.2010s: Alec SothLockdown drill, Belle Plaine high school, Minneapolis, Minnesota, 2014View image in fullscreenSchool shootings are a particularly American phenomenon, the deadliest of which have imprinted the names of their locations – Columbine, Sandy Hook, Virginia Tech – on our collective consciousness. According to a recent CNN report, there were at least 58 shootings on US school grounds and collage campuses between January and mid-October of this year, resulting in 28 deaths and more than 72 injuries.Alec Soth’s dramatic photograph was taken during a school lockdown drill that had interrupted an eight-grade gym class at Belle Plaine high school in his home town, Minneapolis. These kinds of drills are compulsory in more than 20 states. That they are now such a common feature in US schools, that they have become almost normalised, speaks volumes about US gun culture and the failure of legislation to control it. Kenneth Trump, the president of National School Safety and Security Services, told the New York Times: “The majority of today’s generation of students and school staff view lockdowns as a routine part of the school culture, just as we have viewed fire drills for many years.”Soth’s deftly composed photograph is startling in its stillness and atmosphere of vulnerability. The young girls huddled together, faces hidden in hands, heads bowed in silent thought. Their pale limbs are in dramatic contrast to the deep red of their school T-shirts and the shiny gym lockers. The drama here lies in the dread possibility of what might one day come to pass, and one cannot help but ponder where the schoolgirls’ thoughts have wandered in this silent, confined space. It is an image neither violent nor transgressive but that disturbs all the same in its evocation of a singular kind of collective cognitive dissonance.2020s: Peter van AgtmaelStorming of the Capitol, Washington DC, 6 January 2021View image in fullscreenThe tumultuous events of 6 January 2021, when a riotous mob stormed the Capitol building after an inflammatory speech by Donald Trump, hang like a storm cloud over the imminent US election. As the election results pivoted towards a Democrat victory, Trump had urged his followers to converge on the Capitol to “stop the steal”. Many thousands responded, fighting their way into the Capitol building where they ransacked offices, smashed furniture and wandered the corridors in search of the politicians that Trump had demonised. Chief among them were Nancy Pelosi, Speaker of the House of Representatives, and Mike Pence, his presidential running mate, who had refused to challenge the result. Both were perilously close to the rioters inside the building before they were safely evacuated.Peter van Agtmael, whose photojournalism over the past few decades has interrogated the US’s foreign wars and its concurrent domestic discontents was in the midst of the mob at Capitol Hill on the day. From the eye of the hurricane, he captured protesters clashing violently with outnumbered police armed with batons and pepper spray. This image distills the greater scattered disorder that erupted around the Capitol building and the dogged determination of the protesters, one of whom has scaled a high wall, his hand clinging to a marble ledge as he bends to help others beneath him. Only his baseball cap is visible and beyond it a panoramic of the unruly horde spread out across the grounds, many of them carrying US flags.In the background, the tall Washington Monument, built in honour of the first US president, points towards the sky, a symbol of the birth of US democracy. Beneath it, all is chaos and disorder. Van Agtmael’s dramatic image is a vivid distillation of a deeply fractured US. It may also be an augury of more turbulent times to come.

    Magnum America by Peter van Agtmael and Laura Wexler is published by Thames & Hudson (£125). To support the Guardian and Observer order your copy at guardianbookshop.com. Delivery charges may apply More

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      in US Politics

      ‘There are images no leader ever wants to be seen’: 33 pivotal US presidential moments captured on camera

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      Is it any surprise that “photo op” is a phrase imported into British English from the United States? Of course it came from there, the land where the visual image sits right at the centre of the culture, with politics no exception. It was the Nixon White House that came up with it, specifically a press aide by the name of Bruce Whelihan. According to Washington legend, whenever the president was meeting a visiting dignitary, Richard Nixon’s hardball press secretary, Ron Ziegler, would turn to his underling with an order to summon the snappers. “Get ’em in for a picture,” Ziegler would say. Too polite to put it that way himself, Whelihan would clear his throat and announce to the ladies and gentlemen of the Washington press corps: “There will be a photo opportunity in the Oval Office.” The photo op was born.But if the term was new, the thing itself had been a part of US politics almost from the start. Just as Roman emperors sought to cast themselves in stone and Tudor kings commissioned the finest artists to capture their likeness, so American presidents moved fast to harness the new technology of the age, in order that the nation might see the men who governed them. The selection of photographs assembled here is made up of a series of striking images, but a couple are extraordinary less for what they show than for the fact that they exist at all.Behold a portrait of John Quincy Adams, sixth US president and the son of its second. A daguerreotype, it dates to March 1843), when Adams had been out of office for well over a decade, but still: it is the earliest known photograph of a US president, its subject a man born in 1767 and whose father was the successor to George Washington himself. Seeing the face of Abraham Lincoln induces a similar feeling of historical vertigo. If there’s a tendency to divide human events into two broad categories – our own, modern era and everything that went before – then the invention of the photograph can often be the instinctive dividing line between the two. But here are Adams and Lincoln, jumping over the barrier and barging their way into our own times.As for Nixon himself, he appears in this collection twice. That’s fitting, and not only because of the origin story of the photo op. Nixon learned the hard way that in modern American politics, image is everything. Washington legend holds that in their 1960 presidential debate, Nixon comfortably beat the young Massachusetts senator John F Kennedy among voters who followed the contest on the radio – but, his face darkened by five o’clock shadow, he lost among those who watched on TV. After that, Nixon was ready to put himself in the hands of the image-makers.One result is the intriguing photograph of the president and the king, Nixon and Elvis, standing improbably together in the White House in 1970. Showing two men both then at the height of their powers, both to fall just a few years later, the picture was long the most requested of all those held by the US National Archives). It fascinates partly because the pair represent polar opposites – a rock legend and a man so uncool he wore a suit on the beach) – and partly because it invites you to guess at the men’s motives: Nixon surely wanted some of Presley’s stardust to land on him, while Elvis was in search of a federal agent’s badge and, it seems, a sense of purpose.The other Nixon shot is the one that etched his downfall into the public imagination. It shows his parting gesture – an oddly celebratory, double V-for-victory salute – from the presidential helicopter as he made his disgraced exit following the Watergate scandal). Nixon flew off to California and into the history books as the first US president ever to quit.Between them, Elvis and Watergate, those pictures represent the two categories of presidential photograph: the ones they wanted – the photo ops – and the ones they most emphatically did not. The first category brims with examples and they follow a pattern. They show the occupant of the White House as a heroic, even mythic figure. The exemplar is Teddy Roosevelt on horseback, a hunter and adventurer who engaged in photogenic displays of muscularity and machismo so overt, they’d make Vladimir Putin blush. But that tradition has endured. Indeed, it has turned into an expectation that a US president must not only be competent and wise, but also fit, strong and marked by conspicuous physical courage.Meeting that demand has been easy for some occupants of America’s highest office. Dwight Eisenhower didn’t have to pretend to be a warrior: he had been the supreme allied commander during the second world war. When he first campaigned for the presidency in 1952, there was no need to stage a photo op: there were images aplenty of him directing the D-day mission) that had turned the war around just eight years earlier. No wonder he won.But for others, producing images of strength and command has taken some doing. The group portrait of Franklin Roosevelt, Winston Churchill and Joseph Stalin at Yalta ) had to have the so-called the Big Three seated because Roosevelt was paralysed from the waist down and required either a wheelchair or leg braces to get around. He and his aides went to great lengths to keep that fact from the US public and they mostly succeeded, thanks to a compliant press pack who obediently put away their cameras once the chosen image had been secured.That remained the custom for a while, the snappers keeping a discreet distance even after Eisenhower had both a heart attack and stroke in office, and as Kennedy battled crippling back pain. The images told a different story, including the silhouetted portrait of JFK standing alone at the Resolute desk in the Oval Office, head bowed, a study in the loneliness of ultimate political authority). That photograph may lack the glamour or sparkle of other Camelot-era pictures, but it contributed to the Kennedy mystique – and the mythology of the presidency itself – every bit as much. This was the era of the cold war, of a nuclear standoff between the US and the USSR, and that desk was where the buck stopped. Here was where the button would be pressed – and here was the man who would press it.Naturally, this iconography of president-as-hero takes different forms, depending on who’s in the job. The image Jimmy Carter treasured from his single term in office cast him as successful peacemaker, bringing together Menachem Begin of Israel and Anwar Sadat of Egypt in the Camp David peace accords. For supporters of Donald Trump, the picture that renders him a hero is the one taken a second after a would-be assassin’s bullet had brushed his ear, when he raised his fistand, with bloodied face, urged them to “Fight, fight, fight!”.Sometimes, though, the man at the top has struggled to meet that deep public need for an alpha figure in the White House. Carter’s political prospects took a hit when he was photographed “wobbling, moaning and pale with exhaustion” during a six-mile run in 1979). But the most recent, and serious, example is Joe Biden, whose visible frailty drove him from this year’s presidential race. The pictures showing him apparently slack-jawed during a June TV debate with Trump were enough to persuade Democrats that he had to go.Which brings us to the images no leader ever wanted to be seen. Some were photo ops whose aim was to offer a heroic, presidential figure, which went badly wrong. Michael Dukakis’s handlers wanted to project him as a potential commander-in-chief when they put him in a tank during the 1988 campaign); instead he looked like a hopeless dweeb. George W Bush’s team doubtless thought a Mission Accomplished banner on an aircraft carrier conveyed victorious strength following the invasion of Iraq; instead it came to haunt him as an emblem of hubris and myopia.But other unwanted images from this collection capture not mistaken bits of stage management, but rather tragedy and disaster. George W Bush reading My Pet Goat to a group of Florida schoolkids as he gets word of the attack on the World Trade Center in 2001 distils the shock of 9/11, even now. The lifeless body of Robert F Kennedy evokes the turbulence and violence of 1968), a time when the US seemed about to tear itself apart.It’s all here: moments of hope – Barack Obama inspiring a young boy as America’s first Black president – and moments of despair – Lyndon Johnson taking the oath following JFK’s assassination while Jackie Kennedy, in blood-stained clothes, looks on. And yet, no matter how sweeping the range of these photographs, there is something missing from this selection. It would be lacking in any assembly of presidential pictures. Yes, there are Democratic presidents and Republican presidents. Yes, there are old presidents and young presidents. But there is no female president. We see Hillary Clinton, who got close. We see Shirley Chisholm, who was the first Black woman to try but never got near. Otherwise, there is an absence. On 5 November, Americans have a chance to fill that space – and to give the world a picture no one has ever seen before.Picture captions by Felix Bazalgette and Gabrielle SchwarzJimmy Carter collapses, 1979By Phil StewartView image in fullscreen“His face was ashen and his mouth hung open,” is how one reporter described Jimmy Carter in September 1979, when the president dropped out of a six-mile race four miles in. Though he swiftly recovered, this image – two months after his speech blaming US problems on a “crisis of confidence” – was seen as evidence of weakness. He lost to Ronald Reagan the following year. GSRichard Nixon bids goodbye, 1974Photographer unknownView image in fullscreen“Once more, there was not a spark of contrition in the man,” commented the Guardian at the time. On 8 August 1974, Richard Nixon earned the dubious honour of being the first (and, to this day, only) president to resign from office.Two years earlier, five men were caught trying to burgle and bug the offices of the Democratic National Committee at the Watergate complex in Washington DC. The subsequent investigation implicated Nixon, who faced impeachment for his role in covering up the break-in. Yet – as seen in this image of him leaving the White House for the last time – he was never really repentant. As he told David Frost in 1977, “When the president does it, that means it is not illegal.” One month after he resigned, his chosen successor, Gerald Ford, pardoned him. GSFDR at Yalta, 1945Photographer unknownView image in fullscreenFor eight days in February 1945, the “Big Three” – Franklin D Roosevelt, Winston Churchill and Joseph Stalin – met in the Crimean city of Yalta to discuss allied strategy.“FDR’s position between the other leaders is significant,” Diana Preston, historian and author of Eight Days at Yalta. “It was appropriate for a man who hoped to reconcile conflicting interests and build a future peace.” The conference was at first deemed a success, but the Soviet leader soon broke his promises to allow free elections in eastern Europe, and the cold war began. GSTexts from Hillary Clinton, 2011By Kevin LamarqueView image in fullscreenIt was the photograph that launched a thousand memes before becoming a liability at election time. The image of Hillary Clinton texting in sunglasses aboard a military plane to Libya went viral, inspiring a popular blog called “Texts from Hillary”. CBS reported at the time: “Hillary Clinton brings the LOLZ” and Clinton even name-checked the authors of the blog in her first ever tweet, proudly setting the image as her avatar.By 2015, however, she would distance herself from it, dropping it from her Twitter profile when the FBI announced an investigation into her use of a private email address for government business. As the image became used in articles about the investigation, its meaning began to shift. Many people started to wonder what Clinton might have been writing on that Blackberry. The scandal came to a catastrophic peak just 11 days before the 2016 election, when FBI director James Comey announced that he was reopening the investigation after having closed it in July. FBTheodore Roosevelt, 1898Photographer unknownView image in fullscreenThis image of Roosevelt on a horse encapsulates the rugged masculinity the 26th president – in fact born into an aristocratic family in New York – strove to embody. Once a sickly child, he credited his recovery to exertion and hardship, and argued this approach would lead to triumph for both man and nation. Here he is in Cuba during the Spanish-American war, leading volunteer regiment the Rough Riders. Returning a war hero, he re-entered politics and became president after William McKinley’s assassination in 1901. GSHair Like Mine, 2009By Pete SouzaView image in fullscreenThe symbolic power of the first African American president was cemented in this image of Barack Obama leaning forward so a five-year-old boy could feel his hair. On 8 May 2009, Jacob’s dad, departing national security council staffer Carlton Philadelphia, took his family to the Oval Office for a farewell photo. This snap, by the then chief White House photographer Pete Souza, captures the moment Jacob asked, “Is your hair like mine?” Obama suggested he touch it and see. A framed print of the photo was hung in the White House for the rest of his presidency.“The whole thing happened so fast, I literally have this one picture,” Souza recalls. “My composition was not perfect, but I think it adds to the spontaneity of the moment.”Two years ago, Obama called Jacob to congratulate him on his high-school graduation. “Folks who maybe didn’t feel they belonged,” he said of the image, “they’d look at themselves differently – to see a person who looked like them in the Oval Office.”“That was a highlight of my life,” Jacob said. “If I get to see another Black man at the top, I want to follow that lead.” GSAssassination attempt on Donald Trump, 2024By Evan VucciView image in fullscreenThis photograph will be remembered as a pivotal moment in this year’s election. On 13 July, a gunman opened fire at a Trump rally in Butler County in Pennsylvania. The former president was only lightly wounded when a bullet grazed his right ear but one crowd member was killed and another two critically injured before the shooter was taken down by a Secret Service sniper. This remarkable image of Trump – his ear and face bloodied, and fist defiantly raised in the air as he is hurried off the stage, an American flag raised behind him – instantly went viral. In an interview soon after, AP photojournalist Evan Vucci recalled his thoughts as he was capturing the scene: “In my head, I just kept saying to myself, slow down, slow down. Compose, compose.” GSAbraham Lincoln at Gettysburg, 1863By Mathew B BradyView image in fullscreenFor almost a century, it was thought that no photographs existed of Abraham Lincoln at Gettysburg on 19 November, the day he delivered his endlessly quoted address at the dedication of the Soldiers’ National Cemetery. That is, until archivist Josephine Cobb undertook some detective work in 1952. Cobb, the first woman to be employed by the National Archives, picked through the work of the 19th-century photographer Mathew Brady, famous for his portraits of the great and good. She came upon a broken glass negative that showed a vast crowd at Gettysburg – she estimated the time to be about noon, a few hours before Lincoln would speak. After repeatedly enlarging, expanding and reprinting the image, she found his unmistakable face in the crowd (bare-headed, left of centre). FBRonald and Nancy Reagan kissing in Vanity Fair, 1985 By Harry Benson View image in fullscreen“There is in the West,” wrote William F Buckley in 1985, “a tradition against chiefs of state engaging in visible, let alone ostentatious, shows of biological informality.” Ronald and Nancy Reagan, both successful actors before going into politics, bucked tradition by using the White House as a setting for their love story. The media was happy to indulge them, with Buckley writing a fawning ode to the couple in Vanity Fair, to accompany a series of images by Harry Benson of them dancing to Sinatra and locking lips.Reagan, a year into his final term, could risk a little biological informality – the images were probably more consequential for Vanity Fair. Benson later said that the loss-making publication was facing closure until this issue. The editor Tina Brown, he said, convinced the owner to “wait until the June 1985 cover of the Reagans appeared. The magazine sold off the stands and the magazine was saved.” FBRichard Nixon with Elvis Presley, 1970By Oliver F AtkinsView image in fullscreenOne December morning in 1970, Elvis showed up at the White House with a handwritten letter for the president. He wanted to give him a gift (a Colt pistol with silver bullets) and discuss becoming a “federal agent at large”: “I have done an in-depth study of drug abuse and communist brainwashing and I am right in the middle of the whole thing where I can do the most good,” he wrote.Nixon gave Presley a federal narcotics badge, but not an official role. The bizarre encounter was captured by White House photographer Oliver F Atkins, but the images weren’t made public until the 1980s, after Nixon’s resignation and Presley’s death. GSJohn F Kennedy: the loneliest job, 1961By George TamesView image in fullscreenA few weeks into his presidency, JFK stood at his desk before meeting the French ambassador, reading an official paper. Photographer George Tames, shadowing him for the New York Times, took this photograph, which became famous for its intimate portrayal of the pressures of holding office.It was later reproduced in the opening title of US political drama The West Wing. FBBill Clinton hugs Monica Lewinsky, 1996By Dirck HalsteadView image in fullscreenIt was a moment captured by chance: a hug between Bill Clinton and Monica Lewinsky in the crowd at a Democratic fundraiser in Washington in October 1996. But when news of the affair between the president and the former White House intern broke in 1998, photojournalist Dirck Halstead, then senior White House photographer at Time magazine, recognised her face. After searching through his archives, he located this image in a box of transparencies. The photo ran on Time’s cover that August, when Lewinsky agreed to testify before a grand jury investigating Clinton’s denials of the affair.Four months later, Clinton was impeached on charges of obstruction of justice and perjury, but he was eventually acquitted and left office after two terms in 2001 with the highest approval rating of any departing postwar president. Lewinsky, meanwhile, was diagnosed with post-traumatic stress disorder, “mainly from the ordeal of having been publicly outed and ostracised back then”, the anti-bullying campaigner wrote in Vanity Fair in 2018. “There has been at least one significant reference in the press to that unfortunate spell in our history every day for the past 20 years.” GS‘Dewey defeats Truman’, 1948Photographer unknownView image in fullscreenWith Harry Truman’s popularity waning, a win for his Republican opponent, Thomas E Dewey, in the 1948 election seemed certain. The Chicago Daily Tribune, forced to go to press early due to a printers’ strike, issued 150,000 copies of this 3 November edition – held up by a gleeful Truman en route to Washington – before it became clear its editors had backed the wrong horse. GSDwight D Eisenhower, 1944Photographer unknownView image in fullscreenThis image of General Dwight D Eisenhower addressing paratroopers at Greenham Common airfield on 5 June 1944, the day before they would parachute into France, became one of the most widely circulated of the war, durably linking him with D-day’s success and the eventual American victory. Despite the general’s authoritative pose, the soldier closest to him, Lieutenant Wallace Strobel, recalled a lighter conversation. “He asked my name and which state I was from … He then said, ‘Oh yes, Michigan, great fishing there. Been there several times and like it.’”After the war “Ike”, as he was popularly known, regularly topped polls as America’s most admired man. After years of claiming that it would be inappropriate for a military leader to run for president, he finally went for it in 1952, winning 55% of the popular vote for the Republicans. FBHarry S Truman and Lauren Bacall on the piano, 1945Photographer unknownView image in fullscreenWhile playing piano for photographers during a wartime variety show in 1945, vice-president Truman was joined by 20-year-old Lauren Bacall, with the famous actor perched awkwardly above him. “I was just a kid,” shrugged Bacall years later. “My press agent made me do it.”Truman had only been vice-president for a few weeks, plucked from relative obscurity by Franklin D Roosevelt. This photograph, considered risque at the time, made headlines all around the world and helped to establish his public image – even if they irritated his inner circle, including his wife, Bess. “I don’t think you should play piano in public again,” she said, according to Truman’s grandson. The New York Times recently dubbed it a viral image before its time – it inspired so many other women to climb up on the piano that it eventually broke. FBShirley Chisholm’s presidential bid, 1972By Don Hogan CharlesView image in fullscreenThis is Shirley Chisholm – who four years earlier had become the first Black woman elected to Congress – announcing her presidential bid at the Concord Baptist Church, Brooklyn. She knew that, with its “Unbought and Unbossed” slogan, the campaign was a long shot – she was also the first woman of colour from either major party to run for president. So it was a feat that, despite racism and sexism from her own party as well as the opposition, she made it to the Democratic national convention with the support of 152 delegates – and came fourth. When Kamala Harris launched her first presidential bid in 2020, she paid tribute with campaign colours based on the red and yellow pins Chisholm’s supporters wore. GSGeorge W Bush’s Mission Accomplished moment, 2003By Stephen JaffeView image in fullscreenDan Bartlett, George Bush’s communications director at the time, would later call this photo op “one of the big regrets of my life”. “It did seem premature,” remembers Stephen Jaffe, the press corp photographer covering Bush’s speech on the aircraft carrier that day. “The administration tried to stage everything perfectly – unfortunately it’s not a perfect world.”As the eight-year occupation of Iraq spiralled and weapons of mass destruction failed to appear, the image of Bush in front of a “Mission Accomplished” banner, just six weeks into an invasion that would kill more than a quarter of a million Iraqi civilians, became a symbol of hubris.While Bartlett says the banner referred to the mission of the USS Abraham Lincoln, returning from its tour in the Gulf – the ship’s crew requested it, and he “didn’t think twice”– Jaffe is sceptical and thinks the intended meaning was plain to all on the day. “There was a lot of spin afterwards,” he says. “If the mission had been accomplished, they would have taken credit for it.” FBGeorge W Bush learns of 9/11, 2001By Win McNameeView image in fullscreenThis captures the moment on the morning of 11 September 2001 when George Bush, taking part in a reading session at a primary school in Florida, learned that a second plane had crashed into the World Trade Center. (He’d been informed of the first plane, at the time thought to be an accident, before he entered the classroom.) When his chief of staff, Andy Card, whispered in his ear, “America is under attack,” he decided not to interrupt the reading, instead waiting around seven minutes before leaving.It would become one of the most scrutinised events of his presidency. In his scathing 2004 film Fahrenheit 9/11, Michael Moore said, “Not knowing what to do, with no one telling him what to do, and no Secret Service rushing in to take him to safety, Mr Bush just sat there.” But several people there that day have since spoken out in his defence. “It was nice he understood we were young kids and would probably have gone crazy if he had told us what had happened,” former student La’Damien Smith told an interviewer in 2011. GSSituation Room, 2011By Pete SouzaView image in fullscreen“It’s not a picture I have hanging on my wall,” Pete Souza says. “It’s not artistic – the lighting in that room sucked.” On 1 May 2011, the chief White House photographer was called to the situation room, a network of rooms below the White House. The atmosphere immediately felt unusual. “I had been there many, many times before to cover discussions about sensitive policy decisions,” Souza says. On this day, however, the decision had already been made: Souza was there to document Barack Obama and his senior team as they watched the operation to kill or capture Osama bin Laden play out in real time.As everyone packed into a side room to watch a live feed from a drone, Souza squeezed himself in the corner. (Seated, from left to right, is then vice-president Biden, Obama, joint operations command Marshall B Webb, deputy national security adviser Denis McDonough, secretary of state Hillary Clinton and secretary of defense Robert Gates.) While the raid unfolded in Abbottabad, Pakistan, Souza took about 100 images. “It was as tense and anxious a situation as I had ever seen that whole team in,” he recalls. “You could see it on their faces.” He tried to focus on his composition, getting everyone in frame, and on timing his shutter clicks so as not to distract them. Later it was announced that Navy Seals had killed Bin Laden, along with his son, a courier and two of the courier’s relatives.Of nine pictures released that day, it was this one that went viral, exhaustively analysed and relentlessly memed. Souza, looking back today, believes this was because it occupied some part of the national psyche: “We had this guy that attacked our country, and it took us 10 years to find him, but we found him. It closed the chapter.” FBJohn Quincy Adams, 1843By Philip HaasView image in fullscreenThough Adams was not the first president to be photographed (an 1841 picture of William Henry Harrison is now lost), this is the oldest surviving portrait of a US president. Adams had a familiarly vexed relationship with the medium. “All hideous,” he wrote in his diary, after posing for daguerreotypes in the early 1840s. “Too true to the original.” This image of Adams – who served as president in the 1820s – surfaced in 2017, found by the great-great-grandson of a congressman who had received it as a gift from Adams. FBMichael Dukakis and the tank, 1988By Michael E SamojedenView image in fullscreenMeant to project strength, this unfortunate photo-call crystallised, for critics and voters, something mediocre and uncertain about the Democratic presidential hopeful Michael Dukakis. The Republicans used it relentlessly in attack ads.Politicians are drawn to tanks: Churchill, Putin, Blair, Hugo Chavez, Liz Truss and Nigel Farage have all been snapped on or in one. Dukakis’s efforts came only a couple of years after Thatcher’s influential contribution to the genre; while she loomed out of the turret with uncanny poise, dressed in her own clothes, he seemed shrunken and overwhelmed, in a helmet that didn’t belong to him.Widely recognised as one of the most disastrous campaign photos in history, the image would haunt future presidencies. “I sat in countless meetings in which some smartass warned that a stop on the president’s schedule had the makings of a ‘Dukakis in the tank moment,’” recalled former Clinton aide John King to Politico. In 2013, after being handed a naval football helmet, Obama declined to try it on. “You do not put stuff on your head if you’re president,” he joked. FBJFK in the motorcade, 1963Photographer unknownView image in fullscreen“It was a watershed moment that changed America,” says Fredrik Logevall, historian and biographer of John F Kennedy. “I think there’s something to the notion that America lost its innocence after 22 November 1963.”More than other images from Kennedy’s assassination – grainy TV coverage of the immediate aftermath, or Lyndon B Johnson being sworn in – this long lens shot of Kennedy smiling just moments before his assassination has come to signify what was lost that day. “In this photograph he’s for ever frozen in our minds,” Logevall says, “the picture of youthful vitality and glamour.”For Logevall, it captures an era not only less haunted by political violence – open-top motorcades, beloved by Kennedy because he could get “closer to the people”, are a thing of the past – but also less riven by polarisation. “This was a conservative city,” he notes, and yet “hundreds of thousands of people turned up to cheer him on”.Kennedy was on his way to deliver a speech on political extremism, with lines Logevall believes to be prescient. “America’s leadership must be guided by learning and reason, or else those who confuse rhetoric with reality and the plausible with the possible will gain popular ascendancy, with their seemingly swift and simple solutions to every world problem.” FBLBJ being sworn in, 1963By Cecil W StoughtonView image in fullscreenOn 22 November 1963, shortly after the assassination of John F Kennedy, vice-president Lyndon B Johnson took the oath to become the 36th president of the US, inside a cramped compartment aboard Air Force One, on the runway of Dallas airport. Kennedy’s body had been loaded on to the plane 15 minutes before, and as the compartment filled with people, White House photographer Cecil Stoughton stood on top of a sofa, crammed himself against the curved ceiling and asked everyone to step back.When Jackie Kennedy arrived, still in her blood- stained suit, she was positioned to LBJ’s left – her haunting, dazed expression lends the image its emotional force. In less than a minute, as Stoughton snapped eight pictures, the ceremony was over. As Air Force One continued on to Washington, Stoughton left the plane to ensure his film was swiftly developed and transmitted to the world’s press, to authenticate the transfer of power to a new president. FBDonald Trump mugshot, 2023By Fulton County Sheriff’s OfficeView image in fullscreenEven before Trump arrived at the Fulton County Sheriff’s Office in Atlanta, Georgia, last August, people were anticipating the release of his mugshot, with fakes spreading around the internet. It was his fourth arrest that year, but the first time he had had a picture taken.Mugshots are often used to shame public figures who have run-ins with the law. But for Trump, ever the self-publicist, the image became a golden opportunity, adorning mugs, T-shirts and stickers, with the mottos “Never Surrender” or “Not Guilty”. Trump, not long reinstated on X by Elon Musk, tweeted the image himself, raising more than $7m in just a few days. FBJimmy Carter at Camp David, 1978By Karl SchumacherView image in fullscreenIn September 1978, Jimmy Carter convened a secret 12-day summit with Israeli prime minister Menachem Begin and Egyptian president Anwar Sadat at Camp David. The main focus was a peace treaty between Egypt and Israel after 30 years of intermittent war. The resulting accords led to Israel agreeing to withdraw from the Sinai in exchange for its first official recognition by an Arab state and an end to the state of war. A plan was also laid out for Palestinian self-government in the West Bank and Gaza, but it was never implemented.Here Begin and Sadat are shown smiling and shaking hands at the presidential retreat in Maryland, as Carter looks on. “The picture makes it look as if the three leaders all got along very well at the summit. That was not at all the case,” recalls William B Quandt, a former national security council staffer who was involved in the negotiations. “The adversaries were very hostile, and on the third day Carter decided not to have any more three-way meetings. We were not at all sure we would get an agreement until the last day.”Begin and Sadat won the Nobel Peace prize that year, while Carter was awarded it in 2002 for “his decades of untiring effort to find peaceful solutions to international conflicts”. While the Camp David accords are recognised as his greatest presidential achievement, they left crucial issues unresolved and, some argue, helped prevent Palestianian statehood. GSGeorge HW Bush in bed, 1987By David ValdezView image in fullscreenThis photograph, taken in 1987 for Life ­magazine, captured the then vice- president with his ­family on holiday in Maine. David Valdez – personal photographer to Bush at the time – was invited by Barbara Bush to come by the house at 6am. “I poked my head in the bedroom door and there were George and Barbara Bush in bed,” he later told NPR. “Then the ­grandchildren started coming in and I took that snap, and that wound up running two full pages, and it’s taken on a life of its own.” The Washington Post credited the image with launching Bush’s successful campaign for the presidency; Valdez became his official White House ­photographer. FBLyndon B Johnson watches war protests, 1968By Yoichi OkamotoView image in fullscreenThis strikingly intimate shot shows LBJ and his family at his ranch in Texas, watching TV coverage of Vietnam war protests outside the 1968 Democratic national convention in Chicago. This level of access was remarkable: Yoichi Okamoto was the first civilian to be appointed chief photographer for the White House.Here we can also see a turning point in LBJ’s presidency. Since taking over in 1963, he had sent more than 500,000 troops to what the public increasingly saw as an unjustifiable, unwinnable war. “I know we oughtn’t to be there,” Johnson admitted to a colleague in 1966, “but I can’t get out.” He withdrew from the 1968 election, and Nixon won. GSCalvin Coolidge as a cowboy, 1927Photographer unknownView image in fullscreenDuring his tenure in the 1920s, Calvin Coolidge held the greatest number of press conferences of any president (521 over six years), delivered the first State of the Union address on the radio and was the first to appear in a sound film. The media-savvy president appeared in photos dressed up in workers’ overalls, pitching hay and – as here – wearing a cowboy’s chaps and hat, on a trip to South Dakota. This image caused a stir: while the New York Times claimed “Coolidge as Cowboy Wins West’s Heart”, others called him “a pitiful puppet of publicity”, the first president to make himself a laughing stock. He would not be the last. FBBill Clinton on Arsenio Hall, 1992By Reed SaxonView image in fullscreenThis may well be what clinched the 1992 election for Bill Clinton. In June, weeks before accepting the Democratic presidential nomination, he appeared on Arsenio Hall’s late-night talkshow and played Heartbreak Hotel on the saxophone. It was a bold move at the time and the image of a cool, confident Clinton on stage with his sax and dark shades is credited with helping him secure the youth vote especially. “It’s nice to see a Democrat blow something besides the election,” Hall quipped on the show. The success of the appearance, the Los Angeles Times wrote, “changed presidential politics – turning pop culture’s hippest TV shows into the contemporary equivalent of campaign whistle-stops”. GSLyndon B Johnson with Martin Luther King Jr, 1965Photographer unknown View image in fullscreen“I want to tell you how grateful I am,” Johnson told King on the phone, after becoming president in 1963, “and how worthy I’m going to try to be of all your hopes.” The cautious collaboration between the two reached its peak on 6 August 1965, with the signing of the Voting Rights Act, which prohibited racial discrimination in voting. Johnson is pictured that day, reaching out to pass a smiling King the pen used to sign the act, as Rosa Parks looks on.How strong this much mythologised moment of unity really was has remained the subject of fierce debate. Mutual distrust haunted their interactions and King faced relentless pressure from J Edgar Hoover’s FBI, with Johnson’s knowledge. King split with the government over Vietnam, and today, voting rights have been rolled back. FBRonald Reagan at the Berlin Wall, 1987By Dirck HalsteadView image in fullscreenOn 12 June 1987, Ronald Reagan delivered probably the most famous sentence of his presidency: “Mr Gorbachev, tear down this wall!” He was standing in front of the Berlin Wall at the Brandenburg Gate, 24 years after JFK gave his famous speech in the city. It was a risky move: the previous day, thousands had gathered to protest against his visit. Even his own advisers had been unsure whether the public address to the Soviet leader was too provocative. But the fall of the Wall two years later, and the collapse of the Soviet Union, seemed to vindicate the decision – though there is debate over whether its importance has been overplayed. Over time, Gorbachev and Reagan, both keen to end the cold war, formed a productive alliance. GSJoe Biden at the debate, 2024By Justin SullivanView image in fullscreen“I’ve done 31 debates since I’ve been at Getty,” says photographer Justin Sullivan, “and I’ve never seen anything like that.” The Biden-Trump debate of June 2024 had felt unusual even before it started: press were allowed in only moments before it began and the room was eerily empty. As a “pale and very unstable” Biden gave “incoherent” answers, Sullivan focused on the “strange facial expressions” that damned him as much as his nonsensical responses did. Within weeks, he’d dropped out of the race.“It was a sad ending to a strong presidency that history will look upon more favourably,” says David Smith, the Guardian’s Washington bureau chief. “He inherited four major crises – the pandemic, the economy, racial justice and climate – and made significant progress on all of them.” FBRobert F Kennedy’s assassination, 1968By Bill EppridgeView image in fullscreenOn 5 June 1968, Robert F Kennedy was in the ballroom of the Ambassador hotel in Los Angeles, giving a victory speech after winning the Democratic California presidential primary – he was shaping up to be the nominee to run against Richard Nixon in the general election. As he exited through the hotel kitchen after midnight, shaking hands with staff, shots rang out. In this photograph by Life magazine photographer Bill Eppridge, Kennedy lies on the floor while a busboy, Juan Romero, crouches down to comfort him. Kennedy died the next day. The gunman was Sirhan Sirhan, a Palestinian-Jordanian man who said he felt betrayed by Kennedy’s support for Israel in the six-day war.Letters addressed to “the busboy” soon arrived at the hotel. “One even went so far as to say that if he hadn’t stopped to shake my hand, the senator would be alive, so I should be ashamed of myself for being so selfish,” Romero told NPR in 2018. “It’s been a long 50 years.” He visited Kennedy’s grave in 2010, buying his first suit for the occasion.Alternative accounts of the assassination have since emerged. His son, Robert F Kennedy Jr – a conspiracy theorist who recently suspended his own presidential campaign – is among those who believe there was a second gunman. GS More

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      Photographing Every President Since Reagan

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      Doug Mills reflects on nearly 40 years of taking photos of presidents.Times Insider explains who we are and what we do and delivers behind-the-scenes insights into how our journalism comes together.Through his camera lens, Doug Mills has seen it all: George H.W. Bush playing horseshoes. An emotional Barack Obama. A shirtless Bill Clinton. And he’s shared what he’s seen with the world.Mr. Mills, a veteran photographer, has captured pictures of every U.S. president since Ronald Reagan. His portfolio includes images of intimate conversations, powerful podium moments and scenes now seared into the American consciousness — like the face of President George W. Bush, realizing that America was under attack while he was reading to schoolchildren.Mr. Mills began his photography career at United Press International before joining The Associated Press. Then, in 2002, he was hired at The New York Times, where his latest assignment has been trailing former President Donald J. Trump. In July, Mr. Mills captured the moment a bullet flew past Mr. Trump’s head at a rally in Butler, Pa., and then a photo of Mr. Trump, ear bloodied, raising his fist.Over the past four decades, cameras and other tools have changed the job considerably, he said. While he once used 35mm SLR film cameras (what photographers used for decades), he now travels with multiple Sony mirrorless digital cameras, which are silent and can shoot at least 20 frames per second. He used to lug around portable dark rooms; now he can transmit images to anywhere in the world directly from his camera, via Wi-Fi or an Ethernet cable, in a matter of seconds.But it’s not just the technology that has changed. Campaigns are more image-driven than ever before, he said, thanks to social media, TV ads and coverage that spans multiple platforms. Not to mention, it’s a nonstop, 24-hour news cycle. He likens covering an election year to a monthslong Super Bowl.“It consumes your life, but I love it,” Mr. Mills said. “I wouldn’t want to be doing anything else.”Mr. Mills, who on election night will be with Mr. Trump at a watch party in Palm Beach, Fla., shared how one image of each president he’s photographed throughout his career came together. — Megan DiTrolioWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      TMZ Criticized for Image Said to Be of Liam Payne, One Direction Singer

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      After a torrent of criticism, TMZ removed the image of a body without explanation.TMZ, the Hollywood-obsessed news outlet known for its coverage of celebrities, drew a flood of criticism for publishing an image purporting to show the body of Liam Payne, the former One Direction singer who died in a fatal fall on Wednesday. The site later removed the image.“TMZ is trying to get clicks and ad money off of a young man’s dead body just minutes after the news of his death,” Shayan Sardarizadeh, a journalist at the BBC, wrote in a post on X. “Imagine being a member of Liam Payne’s family and seeing this.”The site initially published a cropped image of a body lying on a wooden deck, saying that it was at a hotel in Buenos Aires, where Mr. Payne died. TMZ said it had identified him from his distinctive tattoos.“We’re not showing the whole body, but you can clearly see his tattoos — a clock on his left forearm, and a scorpion on his abdomen,” text accompanying the photo said, according to screenshots of the article circulating online.In addition to removing the photograph, TMZ also edited the text to remove any reference to showing part of Mr. Payne’s body. Editors did not post a note explaining their decision to amend the story.A spokeswoman for TMZ did not respond to an email and call seeking comment.There are circumstances where publishing images of dead bodies is journalistically defensible, said Kelly McBride, chair of the Craig Newmark Center for Ethics and Leadership at the Poynter Institute. But such cases are those where the photos call attention to an important story that has a strong public interest element, such as harrowing conditions for migrant children.In those cases, news outlets should be able to explain the decision to take the extraordinary step of publishing sensitive images, she said.“When you don’t have a journalistic purpose, and you find yourself on the receiving end of criticism from your audience, you often are defensive and you have to walk your decisions back,” Ms. McBride said.Sean Elliot, the ethics committee chair for the National Press Photographers Association, said that photo editors should apply reasonable editorial judgment to difficult publishing decisions.“Is this person famous enough, and is their death significant enough that it’s a cultural touchstone?” Mr. Elliot said. “That’s a judgment that only TMZ can make for itself.” More

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      Paul Lowe, Award-Winning British Photojournalist, Dies at 60

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      He was killed in a stabbing near Los Angeles, and his 19-year-old son was arrested, the authorities said. Mr. Lowe had earned acclaim for documenting the siege of Sarajevo and other conflicts.Paul Lowe, an award-winning British photojournalist who captured the horror of war during the fall of the former Yugoslavia in a career that spanned decades and continents, was killed in a stabbing near Los Angeles on Saturday. He was 60.The Los Angeles County District Attorney’s Office filed one count of murder against Mr. Lowe’s son, Emir Abadzic Lowe, 19, for the death, in the San Gabriel Mountains, the county’s Sheriff’s Department said in a statement on Tuesday. The county medical examiner said Mr. Lowe had died from a stab wound in the neck.Mr. Lowe’s work as a photojournalist encompassed several conflicts and major events, including the fall of the Berlin Wall and the Russian invasion of Grozny in Chechnya. His best known photographs emerged out of the siege of Sarajevo, in Bosnia and Herzegovina, one of the longest sieges of a capital city in modern history.In one of Mr. Lowe’s images from Sarajevo, a young girl plays in the street next to a metal tank barrier.Paul Lowe/VII, via ReduxHis son Emir had long struggled with his mental health and was hospitalized on multiple occasions for psychosis over the past year, Amra Abadzic Lowe, Mr. Lowe’s wife of almost 30 years, said in a phone interview on Wednesday.Their son took a trip to the United States that was supposed to last days, but he had not returned after more than two months, she said. Mr. Lowe had traveled to California to try to persuade him to come home with him.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Young men on being Republican in New York: ‘It caused all types of consternation among my friends’

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      In New York City, Republicans are something of a rarity. Only 10% of New Yorkers are Republicans, according to 2021 voter registration data, and the state is polling bright blue for Kamala Harris. But the Republican party has not called it quits.“You live in a blue city, but it’s going red very, very quickly,” Donald Trump claimed at a Bronx rally in May. Step into the suburbs, and Republican candidates have enough momentum to turn multiple House elections – and ultimately, control of the House – into nail-biters.It’s an interesting time for the New York Young Republicans Club (NYYRC). The club brings together conservative New Yorkers 40 and under to socialize, campaign and discuss policy; recent events have included debate watch parties and a self-defense course in light of “illegal military-age male immigrants flooding our country, the threat of World War III, and New York’s insistence on stripping our Second Amendment rights”. It’s using this momentum in New York to branch out to other Republican youth organizations around the country.This year, the photographer Paola Chapdelaine spent time with four male members of NYYRC and one male member of the nearby Connecticut Young Republicans, who represent a nationwide trend of young men increasingly embracing the right. Here, they explain how they found their way to the Republican party as young men in a liberal city and what they think of political polarization in America.Frank Filocomo, 27: ‘Community cannot be politically monolithic’View image in fullscreenWhen I was an undergrad, I saw a woman on the train with a button on her backpack that said “a woman needs a man like a fish needs a bicycle”. I remember completely disagreeing with that. This move towards dissolving the family, or saying that we don’t need each other and we could just be these totally individualized, autonomous beings with no connection to family, with no connection to our history, I reject that idea. I think we’re all connected to something greater. I guess that’s what makes me a conservative.Recently, I thought I had a great rapport with a date – lots of laughter, great chemistry. Then, the morning of the second date, she [texted]: “Hey, I did some thinking, and never mind. I would not like to go on a date with you.” I immediately knew that she Googled me. I’m not a rightwing vigilante, but I write for conservative publications.If I start immediately in a relationship by saying: “Hi, I’m Frank, I’m a conservative,” then I’m setting myself up for failure. I say: “Hi, I’m Frank, I have a cat that I love. These are my hobbies. I play guitar.” That’s not to say you should be deceptive about your beliefs, but it is to say that you should be cognizant of the political polarization in this country. I think it was Muhammad Ali who said that he judges people based on how they treat waiters at restaurants. Similarly, how do you treat animals? I think squabbling over the tax code, or the right number of immigrants we should have per year, or how you feel about foreign policy ultimately mean nothing to me in a relationship. What I care about is how you treat me and how you treat others.I sound like a hippy, but I also totally believe in this idea of community, and that community cannot be politically monolithic. It has to have Democrats in it, has to have liberals. The second we go to the “me versus them” or “us versus them” mentality, we’re doomed.Born, raised and currently living in Brooklyn, Filocomo is program manager at the conservative non-profit National Review Institute. He serves as policy chairman of NYYRCJude Somefun, 41: ‘My politics caused all types of consternation among my friends’View image in fullscreenIt was 2008 and I was a political free agent. This was when everybody was like, “Obama, Obama, Obama.” He was the hope and change guy. But he was saying stuff like: “These billionaires and millionaires have made too much on American people. It’s time for them to spread the wealth” – like socialists. And I was like: “I can’t vote for this guy.”That’s when I leaned on biblical faith and started researching the political parties. Growing up in New York, most Black people are implicit Democrats or explicit Democrats. My friend Ben, who was a socialist, illustrated to me what it takes to be courageous and not fall into the trend, to express your opinion. I don’t necessarily agree with socialism, I just felt like he was very courageous.I felt like the Republican party was more in alignment with freedom, more in alignment with business, more in alignment with marriage, more in alignment with life in the womb. I was like, “OK, I could get down with that.” It caused all types of consternation amongst my friends, my girlfriend at the time. People were having interventions. My dad kind of renounced me as a son. It was very, very tough.In this election, I believe we should promote the interests of America first. A lot of people are hurting now economically. I don’t see the benefit in sending money over to Ukraine, a bunch of foreign aid, a border that’s open, when we have to take care of our citizens.Somefun is philanthropy chairman of NYYRC. He was born and raised in Harlem and currently lives there. He is a life insurance agentMatthew Carrier, 22: ‘From the outside, I’m a raging conservative, but biodiversity concerns me’View image in fullscreenI got started with the College Republicans my sophomore year. There were four of us, so, like, something had to change. So we made it a very conversation-centric group. Our first topic was the Afghanistan pullout, because that was timely. Veganism was a recent [topic] we did, but the conversation was very good. We had a transgenderism and athletics meeting that was probably our most contentious.The club is College Republicans, there’s no hiding from that, and still, we’ve gotten a very dynamic group of people that are willing to have conversations. We have respect for ourselves. We have respect for the campus, but we don’t take ourselves too seriously. It’s something I see where other college Republican groups falter.From the outside, I’m a raging conservative, but biodiversity concerns me [as a farmer]. Still, I don’t share the same concerns [as environmental activists] with GMOs and stuff, because I see there’s a need when you have a world of 8 billion people to feed. I try not to criticize farmers that are at a much larger scale than me by saying: “Just let there be more ladybugs and your crops will be fine.”skip past newsletter promotionafter newsletter promotion

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      Republicans are very much a party of clean air, clean water. When you want to talk about global warming and such, that’s where you lose us. I’m much more appreciative of the climate change conversation if folks I’m talking to are willing to rank their issues. That’s a hard thing to do, and maybe a very cold way of thinking. But what’s the biggest issue, carbon in the atmosphere or plastic on the ground? Biodiversity? I think there’s a lot of benefits to nuclear [power], but no one wants to be the guy that stakes a claim to nuclear out of concern that things go bad.Carrier is the former president of College Republicans at University of Rochester and current statewide chairman of the Connecticut Young Republicans, as well as a political consultant and small scale farmer and beekeeper. He is from Enfield, ConnecticutLucian Wintrich, 36: ‘We’re in an economically terrifying situation’View image in fullscreenSo many younger people in New York are conservative, but they’re scared to actually come out and say that they’re conservative. [There’s also] a quarter of the party, and it tends to be these younger, reactionary kids, who will regurgitate whatever certain conservative influencers say, rather than reading and thinking for themselves.I was the only gay guy and the only pro-Bush guy in fourth grade. To me, conservatism is about actual individuality and autonomy and the understanding that the only real authority that we should appreciate and look towards is God, versus the government and elected officials. I mean, I fully believe in community. Most public schools, before the [federal government] took over and established the failing Department of Education, were run by communities. The more you involve the [federal government], the less control communities have, individuals have, and the worse off we are.[In 2024], I think we need to stop funneling all this money to Israel and Ukraine and honestly, every other country that we’re funneling money to. Actually, Israel is a little trickier than Ukraine. I do think it’s a stabilizing country [in the Middle East], but still we’re hemorrhaging money while our debt is going up. We’re in an economically terrifying situation right now.Wintrich lives in New York’s East Village. He is a media strategist and PR consultant and serves as press chairman of NYYRCKwasi Baryeh, 24: ‘It seems like political violence is becoming normalized’View image in fullscreenOne of the biggest problems I see with New York and other cities that lean liberal is that there’s a degradation of property rights. There’s potential for squatters. Tenants have the right to not pay and stay within the property. It’s also landlords abusing their position by not following their legal responsibilities. When people don’t pay rent or don’t abide by their contracts, that’s probably a gateway to people refusing to obey laws, refusing to follow established norms and conventions. It prevents people from living as moral people.I support the party. I support Trump. Trump did the Tax Cuts and Jobs Act. A couple months ago, I filed my tax return, and I saw I got a little extra money from that. He also [signed a bipartisan bill] funding HBCUs, which my mother, who’s a college professor, was really grateful for. He met with Kanye to see what could be done to remedy the injustice of more Black people being in prison – reducing the incarceration problem. The First Step Act, allowing the formerly incarcerated to re-enter society, was bipartisan, and it was passed. But with the [current] political environment, it doesn’t seem feasible that anyone is going to get much done.[I’m also concerned about the] two recent assassination attempts on Trump. It seems like political violence is becoming more normalized in our society, which makes things much more unstable as things get close to election day.Baryeh is a financial analyst. He lives in the Bronx and is a board member of the NYYRC Catholic caucus

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      What James Ensor Knew About the Masks We Wear

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      Seventy-five years after the artist’s death, the grotesque masquerades he painted aren’t so far from the manipulated faces of the present day.In our age of cheek fillers, makeup contouring and Snapchat filters, the face we show the world is often not our own. When it is this simple to manipulate how we look through cosmetics and digital media, have our masks become our selves?As unlikely as it may seem, James Ensor, a Belgian painter born in 1860, may have understood our lust for masking long before these face manipulation tools came along. Ensor painted figures whose real faces are grotesquely covered, and their new guises reveal their ugliest traits. His works offer us a society full of clowns, who know little about themselves.The case for Ensor’s prescience is being made this month in Antwerp, Belgium, where several simultaneous exhibitions are exploring the artist’s fascination with masks and masquerade as part of the 75th anniversary commemorations of Ensor’s death. Although he isn’t an international household name like his contemporaries Claude Monet, Edward Munch or Vincent van Gogh, at home in Belgium, Ensor is revered as a national treasure.Antwerp’s Royal Museum of Fine Arts, or K.S.M.K.A., which owns the largest collection of Ensor’s paintings, is presenting the lead exhibition of the commemorations, “In Your Wildest Dreams: Ensor Beyond Impressionism,” which runs through Jan. 19, 2025.Herwig Todts, a modern art curator at K.M.S.K.A., said he wanted to show that Ensor was a “game changer,” who used Impressionist brushwork techniques and colors, but then pushed them into new realms of avant-garde expressionism.One of Ensor’s most famous works, his 1890 picture “The Intrigue,” on display at K.S.M.K.A., hovers somewhere between the realistic and the Expressionist: It might be a group-portrait of carnival merrymakers, or a congregation of ghouls.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Kevin Mazur, the Ultimate Celebrity Photographer

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      When Taylor Swift opened her Eras Tour in Glendale, Ariz., in March 2023, Kevin Mazur was granted full access to photograph the show.When Beyoncé opened her Renaissance Tour in Stockholm, Sweden, two months later, Mr. Mazur captured the performance from directly in front of the stage.That fall, when Madonna opened her Celebration Tour in London, Mr. Mazur was once again in position for the best shots.At the Met Gala and Vanity Fair’s Oscar party, Mr. Mazur, 63, roams freely while photographers from major news outlets are given a short amount of time to shoot the goings-on away from the red carpet.Bob Dylan has let him into the recording studio, Barbra Streisand has had him in her home, and Kurt Cobain invited him on a Nirvana tour. He took some of the last photographs of Michael Jackson, on the night before his death.His motto — “Why wouldn’t you want to make people look good?” — helps explain how he became the John Singer Sargent of live-action digital photography, a go-to chronicler of rock gods and movie stars.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More