As it's #WorldPhotographyDay let's look back at the 1930s magazine that was a trailblazer for modern photo-led #journalism: VU.
First published in Paris in 1928 VU was a magazine that put the photograph first. Over 3,000 photos were used in its first year of publication alone.
The timing was auspicious: the Leica 1 camera had been released in 1925 and the Rolleiflex would launch in 1929. High quality portable photography was making its breakthrough and VU magazine would pioneer it's journalistic use.
Lucien Vogel had worked on a range of illustrated magazines before he founded VU in 1928. He also had an interest in Constructivism. VU would use this approach to pioneer the use of photo-essays as a way of understanding world events.
The range of photographers Vogel assembled for VU is breathtaking: Man Ray, Henri Cartier-Bresson, André Kertész and Gyula Halász (Brassaï) all produced work for the magazine at some point.
However VU would rise to fame for its political coverage. Special issues on Soviet Russia, Fascist Italy and Nazi Germany brought home the rise of dictatorships through photography.
Double page photo spreads were use extensively by VU to construct a narrative of what was happening in in the world, reflecting Lucien Vogel's belief in constructionist composition to tell stories.
In particular VU brought home the events of the Spanish civil war to French readers. A number of issues were dedicated to the conflict.
Gerda Taro was one of the early women pioneers of #photojournalism, and her images published in VU magazine showed the real life struggles of the Republican army. Taro died in 1937 during the army's retreat from Brunete.
Taro's partner Robert Capa took one of the defining images of the Spanish civil war during the 1937 Battle of Brunete: "The Falling Soldier." VU magazine was the first outlet to publish it.
VU wasn't all politics however; it looked at how life was changing in the 1930s, from mass consumerism to mass unemployment. It's an invaluable record for historians.
The last issue of VU was published on 29 May 1940. Two weeks later Paris was occupied by German troops. The magazine that had charted the rise of European dictatorships finally succumbed to one.
If you'd like to learn more about VU magazine and the birth of photojournalism MOMA has done a recent retrospective here: moma.org/interactives/o…
More stories another time...
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Today in pulp: a tale of an unintentionally radical publisher. It only produced 42 books between 1968-9, but it caught the hedonistic, solipsistic, free love mood of the West Coast freakout scene like no other.
This is the story of Essex House...
Essex House was an offshoot of Parliament Press, a California publishing company set up by pulp artist Milton Luros after the market for pulp magazines began to decline. It specialised in stag magazines sold through liquor stores, to skirt around US obscenity publishing laws.
By the 1960s Parliament Press was already selling pornographic novels through its Brandon House imprint, though these were mostly reprints or translations of existing work. Luros was interested in publishing new erotic authors, and set up Essex House to do just that.
Today in pulp... one of my favourite SF authors: Harry Harrison!
Harry Harrison was born Stamford, Connecticut, in 1925. He served in the US Army Air Corps during WWII, but became disheartened with military life. In his spare time he learned Esperanto.
Harrison started his sci-fi career as an illustrator, working with Wally Wood on Weird Fantasy and Weird Science up until 1950. He also wrote for syndicated comic strips, including Flash Gordon and Rick Random.
Today in pulp... Blade Runner! Let's look back at the classic 1982 movie and see how it compares to original novel.
"It's not an easy thing to meet your maker..."
Blade Runner is based on Philip K. Dick's 1968 novel Do Androids Dream Of Electric Sheep? However 'inspired' may be a better word, as the film is very different to the book.
In the novel Deckard is a bounty hunter for the San Francisco police. The year is 1992; Earth has been ravaged by war and humans are moving to off-world colonies to protect their genetic integrity. They are given organic robots to help them, created by the Rosen Association.
In the 1970s a fascinating engineering battle took place between America and Japan for control of the future. The prize was the world we live in now. And one of the key battles took place on your wrist.
This is the story of the digital watch...
'Digital' is a magical marketing word. Like 'laser' or 'turbo' it suggests progress, mastery and the future. People like those ideas. They like them enough to spend a lot of money on products that have them, especially if they can be a first adopter.
And so it was with the wristwatch. Electronic quartz watches were already a thing by the 1960s: an analogue movement driven by a quartz crystal resonator, powered by a small button battery.
But one American company was setting out on a new timekeeping odyssey...
Today in pulp... let's look back at a Shōjo manga artist whose work celebrated friendships between women: Jun'ichi Nakahara.
Jun'ichi Nakahara was born in Higashikagawa in 1913 and worked as an illustrator, a fashion designer and a doll maker. His work is highly regarded in Japan and he was a significant influence on modern manga art.
In the '20s and '30s Nakahara often drew for Shōjo no Tomo ("Girl's Friend") magazine. The style at the time was for demure, dreamlike imagery, but Nakahara added to this large expressive eyes, often reflecting the light.
Today in pulp I try to decipher 1980s Japanese street style, with the help of Olive: The Magazine for Romantic Girls!
This may involve frills...
Street style is an ever-changing mix of styles, brands, attitudes and poses with various influences. And you normally have to be in the right place at the right time to capture it.
Which is where magazines come in! Photograping, documenting and deconstructing fashion never goes out of style, and in the late 1970s Japanese youth had one key guide to help them: Popeye!