Today in pulp... I look back at the 1930s magazine that was a trailblazer for modern photo-led journalism: VU. #SundayThoughts
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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In January 1919 a new magazine heralded the dawn of the Weimar era. Its aesthetic was a kind of demented Jugendstil, and its stories were dark gothic fantasies.
This is the story of Der Orchideengarten...
Der Orchideengarten: Phantastische Blätter (The orchid garden: fantastic pages) is probably the first ever fantasy magazine. Published in Munich by Dreiländerverlag, a trial issue appeared in 1918 before the first full 24 page edition was published in January 1919.
"The orchid garden is full of beautiful - now terribly gruesome, now satirically pleasing - graphic jewelery" announced the advanced publicity. It was certainly a huge departure from the Art Nouveau of Jugend magazine, which German readers were already familiar with.
If stock photography has taught us one thing it's how to recognise a hacker! But how much do we really know about these shady characters, with their ill-fitting balaclavas and their Windows 7 laptops?
Here's my essential stock photography guide to cybersecurity...
First things first, hacking has come on leaps and bounds in the last few years. Backing up your sensitive data on C60 cassette and labelling it "Flock of Seagulls Megamix' is no longer enough to keep your information safe!
And hackers are actually very hard to spot. That's because they dress head-to-toe in black (or very very very dark grey) since they live on the Dark Web and want to blend into the background.
Today in pulp, one of the most influential and outrageous illustrators of the Italian Italian fumetti scene: Emanuele Taglietti!
This will be interesting...
Emanuele Taglietti was born in Ferrara in 1943. His father worked as a set designer for director Michaelangelo Antonioni, often taking Emanuele with him on set.
In the 1960s Taglietti moved to Rome, where he studied stage design. He began a successful career as an assistant art director, working for Federico Fellini and Marco Ferreri.