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#1 The Terror Of War, Nick Ut, 1972
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#2 The Burning Monk, Malcolm Browne, 1963
#3 Starving Child And Vulture, Kevin Carter, 1993
#8 Earthrise, William Anders, NASA, 1968
#9 Mushroom Cloud Over Nagasaki, Lieutenant Charles Levy, 1945
#10 V-J Day In Times Square, Alfred Eisenstaedt, 1945
#11 Pillars Of Creation, Nasa, 1995
#12 Fire Escape Collapse, Stanley Forman, 1975
#13 A Man On The Moon, Neil Armstrong, Nasa, 1969
#14 Albino Boy, Biafra, Don Mccullin, 1969
#15 Jewish Boy Surrenders In Warsaw, 1943
#16 Bloody Saturday, H.s. Wong, 1937
#17 Migrant Mother, Dorothea Lange, 1936
#18 The Hindenburg Disaster, Sam Shere, 1937
#19 Guerillero Heroico, Alberto Korda, 1960
#20 Dalí Atomicus, Philippe Halsman, 1948
#21 View From The Window At Le Gras, Joseph Nicéphore Niépce, 1826
#22 Leap Into Freedom, Peter Leibing, 1961
#23 The Hand Of Mrs. Wilhelm Röntgen, Wilhelm Conrad Röntgen, 1895
#24 Flag Raising On Iwo Jima, Joe Rosenthal, 1945
#25 Emmett Till, David Jackson, 1955
#26 Cotton Mill Girl, Lewis Hine, 1908
#27 Hitler At A Nazi Party Rally, Heinrich Hoffmann, 1934
#28 Gandhi And The Spinning Wheel, Margaret Bourke-White, 1946
#29 Fetus, 18 Weeks, Lennart Nilsson, 1965
#31 The Pillow Fight, Harry Benson, 1964
#32 The Face Of Aids, Therese Frare, 1990
#33 First Cell-Phone Picture, Philippe Kahn, 1997
#34 Raising A Flag Over The Reichstag, Yevgeny Khaldei, 1945
#35 Behind Closed Doors, Donna Ferrato, 1982
#36 Famine In Somalia, James Nachtwey, 1992
#37 Muhammad Ali Vs. Sonny Liston, Neil Leifer, 1965
#38 The Situation Room, Pete Souza, 2011
#39 Nuit De Noel, Malick Sidibe, 1963
#40 Saigon Execution, Eddie Adams, 1968
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#41 Black Power Salute, John Dominis, 1968
#42 Soweto Uprising, Sam Nzima, 1976
#43 The Horse In Motion, Eadweard Muybridge, 1878
#44 Abraham Lincoln, Mathew Brady, 1860
#45 Iraqi Girl At Checkpoint, Chris Hondros, 2005
#46 Gorilla In The Congo, Brent Stirton, 2007
#47 Bandit's Roost, Mulberry Street, Jacob Riis, Circa 1888
#48 Milk Drop Coronet, Harold Edgerton, 1957
#49 Surfing Hippos, Michael Nichols, 2000
#50 Moonlight: The Pond, Edward Steichen, 1904
#51 The Vanishing Race, Edward S. Curtis, 1904
#52 Betty Grable, Frank Powolny, 1943
#53 Case Study House No. 22, Los Angeles, Julius Shulman, 1960
#57 Windblown Jackie, Ron Galella, 1971
#58 The Hooded Man, Sergeant Ivan Frederick, 2003
#59 American Gothic, Gordon Parks, 1942
#60 Invasion Of Prague, Josef Koudelka, 1968
#62 Boulevard Du Temple, Louis Daguerre, 1839
#63 The Dead Of Antietam, Alexander Gardner, 1862
#64 Winston Churchill, Yousuf Karsh, 1941
#65 Munich Massacre, Kurt Strumpf, 1972
#66 JFK Assassination, Frame 313, Abraham Zapruder, 1963
#67 Kent State Shootings, John Paul Filo, 1970
#68 The Falling Soldier, Robert Capa, 1936
#69 Grief, Dmitri Baltermants, 1942
#70 Birmingham, Alabama, Charles Moore, 1963
#72 The Babe Bows Out, Nat Fein, 1948
#73 Country Doctor, W. Eugene Smith, 1948
#74 Boat Of No Smiles, Eddie Adams, 1977
#75 Firing Squad In Iran, Jahangir Razmi, 1979
#77 Dovima With Elephants, Paris, August, Richard Avedon, 1955
#78 Michael Jordan, Co Rentmeester, 1984
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#80 The Valley Of The Shadow Of Death, Roger Fenton, 1855
#81 The Steerage, Alfred Stieglitz, 1907
#82 Trolley To New Orleans, Robert Frank, 1955
#83 Behind The Gare Saint-Lazare, Henri Cartier-Bresson, 1932
#84 Couple In Raccoon Coats, James Vanderzee, 1932
#85 Androgyny (6 Men + 6 Women), Nancy Burson, 1982
#86 Untitled (Cowboy), Richard Prince, 1989
#87 Bricklayer, August Sander, 1928
#89 Fort Peck Dam, Margaret Bourke-White, 1936
#90 Untitled Film Still 21, Cindy Sherman, 1978
#91 Brian Ridley And Lyle Heeter, Robert Mapplethorpe, 1979
#92 Demi Moore, Annie Leibovitz, 1991
#93 Cathedral Rock, Yosemite, Carleton Watkins, 1861
#94 Allende's Last Stand, Luis Orlando Lagos, 1973
#95 Molotov Man, Susan Meiselas, 1979
#96 North Korea, David Guttenfelder, 2013
#98 Chairman Mao Swims In The Yangtze, 1966
#99 Immersions (Piss Christ), Andres Serrano, 1987
With millions of pictures taken every day we can easily get lost in the vast world of images. That's why TIME magazine decided to create a list of 100 most influential pictures ever taken. They teamed up with curators, historians, photo editors, and famous photographers around the world for this task.
"No formula makes for iconic photos," the editors said. "Some images are on our list because they were the first of their kind, others because they shaped the way we think. And some cut because they directly changed the way we live. What all of the 100 famous photographs share is that they are turning points in our human experience."
The result they ended up with is not only a collection of superb historical photos but incredible human experiences as well. "The best photography is a form of bearing witness, a way of bringing a single vision to the larger world." However, these famous photos are not the only TIME 100 - previously the magazine has released Top 100 novels, movies, influential people, and other noteworthy lists.
Scroll down below to check the photo gallery of the most famous pictures of our age.
The faces of collateral damage and friendly fire are generally not seen. This was not the case with 9-year-old Phan Thi Kim Phuc. On June 8, 1972, Associated Press photographer Nick Ut was outside Trang Bang, about 25 miles northwest of Saigon, when the South Vietnamese air force mistakenly dropped a load of napalm on the village. As the Vietnamese photographer took pictures of the carnage, he saw a group of children and soldiers along with a screaming naked girl running up the highway toward him. Ut wondered, Why doesn’t she have clothes? He then realized that she had been hit by napalm. “I took a lot of water and poured it on her body. She was screaming, ‘Too hot! Too hot!’” Ut took Kim Phuc to a hospital, where he learned that she might not survive the third-degree burns covering 30 percent of her body. So with the help of colleagues he got her transferred to an American facility for treatment that saved her life. Ut’s photo of the raw impact of conflict underscored that the war was doing more harm than good. It also sparked newsroom debates about running a photo with nudity, pushing many publications, including the New York Times, to override their policies. The photo quickly became a cultural shorthand for the atrocities of the Vietnam War and joined Malcolm Browne’s Burning Monk and Eddie Adams’ Saigon Execution as defining images of that brutal conflict. When President Richard Nixon wondered if the photo was fake, Ut commented, “The horror of the Vietnam War recorded by me did not have to be fixed.” In 1973 the Pulitzer committee agreed and awarded him its prize. That same year, America’s involvement in the war ended.
Years later Kim was removed while studying medicine from her university. She was used as a propaganda symbol by the communist government of Vietnam. In 1986, , she continued her studies in Cuba. In Cuba, she met Bui Huy Toan, another Vietnamese student and her future fiancé. In 1992 they married, and went on their honeymoon in Moscow. During a refuelling stop in Newfoundland, they left the plane and asked for political asylum in Canada, which was granted. The couple now live in Ajax, Ontario, and have two children. In 1996, Phúc met the surgeons who had saved her life. The following year, she passed the Canadian Citizenship Test with a perfect score and became a Canadian citizen. In 1997 she established the first Kim Phúc Foundation in the U.S., with the aim of providing medical and psychological assistance to child victims of war
In June 1963, most Americans couldn’t find Vietnam on a map. But there was no forgetting that war-torn Southeast Asian nation after Associated Press photographer Malcolm Browne captured the image of Thich Quang Duc immolating himself on a Saigon street. Browne had been given a heads-up that something was going to happen to protest the treatment of Buddhists by the regime of President Ngo Dinh Diem. Once there he watched as two monks doused the seated elderly man with gasoline. “I realized at that moment exactly what was happening, and began to take pictures a few seconds apart,” he wrote soon after. His Pulitzer Prize–­winning photo of the seemingly serene monk sitting lotus style as he is enveloped in flames became the first iconic image to emerge from a quagmire that would soon pull in America. Quang Duc’s act of martyrdom became a sign of the volatility of his nation, and President Kennedy later commented, “No news picture in history has generated so much emotion around the world as that one.” Browne’s photo forced people to question the U.S.’s association with ­Diem’s government, and soon resulted in the Administration’s decision not to interfere with a coup that November.
Kevin Carter knew the stench of death. As a member of the Bang-Bang Club, a quartet of brave photographers who chronicled apartheid-­era South Africa, he had seen more than his share of heartbreak. In 1993 he flew to Sudan to photograph the famine racking that land. Exhausted after a day of taking pictures in the village of Ayod, he headed out into the open bush. There he heard whimpering and came across an emaciated toddler who had collapsed on the way to a feeding center. As he took the child’s picture, a plump vulture landed nearby. Carter had reportedly been advised not to touch the victims because of disease, so instead of helping, he spent 20 minutes waiting in the hope that the stalking bird would open its wings. It did not. Carter scared the creature away and watched as the child continued toward the center. He then lit a cigarette, talked to God and wept. The New York Times ran the photo, and readers were eager to find out what happened to the child—and to criticize Carter for not coming to his subject’s aid. His image quickly became a wrenching case study in the debate over when photographers should intervene. Subsequent research seemed to reveal that the child did survive yet died 14 years later from malarial fever. Carter won a Pulitzer for his image, but the darkness of that bright day never lifted from him. In July 1994 he took his own life, writing, “I am haunted by the vivid memories of killings & corpses & anger & pain.”
I shall always remember this little boy, and his photographer. When my own burdens become heavy, this will be a good reminder that my own plight is nothing compared to what these two endured.
It’s the most perilous yet playful lunch break ever captured: 11 men casually eating, chatting and sneaking a smoke as if they weren’t 840 feet above Manhattan with nothing but a thin beam keeping them aloft. That comfort is real; the men are among the construction workers who helped build Rockefeller Center. But the picture, taken on the 69th floor of the flagship RCA Building (now the GE Building), was staged as part of a promotional campaign for the massive skyscraper complex. While the photographer and the identities of most of the subjects remain a mystery—the photographers Charles C. Ebbets, Thomas Kelley and William Leftwich were all present that day, and it’s not known which one took it—there isn’t an ironworker in New York City who doesn’t see the picture as a badge of their bold tribe. In that way they are not alone. By thumbing its nose at both danger and the Depression, Lunch Atop a Skyscraper came to symbolize American resilience and ambition at a time when both were desperately needed. It has since become an iconic emblem of the city in which it was taken, affirming the romantic belief that New York is a place unafraid to tackle projects that would cow less brazen cities. And like all symbols in a city built on hustle, Lunch Atop a Skyscraper has spawned its own economy. It is the Corbis photo agency’s most reproduced image. And good luck walking through Times Square without someone hawking it on a mug, magnet or T-shirt.
Interesting at how much of an impact this photo made during it's heyday.... and almost a hundred years later, people don't have the understanding of what it represented.
On the morning of June 5, 1989, photographer Jeff Widener was perched on a sixth-floor balcony of the Beijing Hotel. It was a day after the Tiananmen Square massacre, when Chinese troops attacked pro-democracy demonstrators camped on the plaza, and the Associated Press sent Widener to document the aftermath. As he photographed bloody victims, passersby on bicycles and the occasional scorched bus, a column of tanks began rolling out of the ­plaza. Widener lined up his lens just as a man carrying shopping bags stepped in front of the war machines, waving his arms and refusing to move. The tanks tried to go around the man, but he stepped back into their path, climbing atop one briefly. Widener assumed the man would be killed, but the tanks held their fire. Eventually the man was whisked away, but not before Widener immortalized his singular act of resistance. Others also captured the scene, but Widener’s image was transmitted over the AP wire and appeared on front pages all over the world. Decades after Tank Man became a global hero, he remains unidentified. The anonymity makes the photograph all the more universal, a symbol of resistance to unjust regimes everywhere.
Actually while others did both record and photograph the event, officials saw them and came around the hotel gather an destroying films, the photographer saw them pointing and quickly went inside and hide some of his film (including photos and videos) in the top part of the hotel toilet
The most widely seen images from 9/11 are of planes and towers, not people. Falling Man is different. The photo, taken by Richard Drew in the moments after the September 11, 2001, attacks, is one man’s distinct escape from the collapsing buildings, a symbol of individuality against the backdrop of faceless skyscrapers. On a day of mass tragedy, Falling Man is one of the only widely seen pictures that shows someone dying. The photo was published in newspapers around the U.S. in the days after the attacks, but backlash from readers forced it into temporary obscurity. It can be a difficult image to process, the man perfectly bisecting the iconic towers as he darts toward the earth like an arrow. Falling Man’s identity is still unknown, but he is believed to have been an employee at the Windows on the World restaurant, which sat atop the north tower. The true power of Falling Man, however, is less about who its subject was and more about what he became: a makeshift Unknown Soldier in an often unknown and uncertain war, suspended forever in history.
I saw him and many others fall to their deaths trying to escape the flames live on national news, while I held my infant daughter in my arms and wept, the nightmares haunted me for years the images bring tears to my eyes to this very day. I will never forget.
The war in Syria had been going on for more than four years when Alan Kurdi’s parents lifted the 3-year-old boy and his 5-year-old brother into an inflatable boat and set off from the Turkish coast for the Greek island of Kos, just three miles away. Within minutes of pushing off, a wave capsized the vessel, and the mother and both sons drowned. On the shore near the coastal town of Bodrum a few hours later, Nilufer Demir of the Dogan News Agency, came upon Alan, his face turned to one side and bottom elevated as if he were just asleep. “There was nothing left to do for him. There was nothing left to bring him back to life,” she said. So Demir raised her camera. "I thought, This is the only way I can express the scream of his silent body." The resulting image became the defining photograph of an ongoing war that, by the time Demir pressed her shutter, had killed some 220,000 people. It was taken not in Syria, a country the world preferred to ignore, but on the doorstep of Europe, where its refugees were heading. Dressed for travel, the child lay between one world and another: waves had washed away any chalky brown dust that might locate him in a place foreign to Westerners’ experience. It was an experience the Kurdis sought for themselves, joining a migration fueled as much by aspiration as desperation. The family had already escaped bloodshed by making it across the land border to Turkey; the sea journey was in search of a better life, one that would now become — at least for a few months — far more accessible for the hundreds of thousands traveling behind them. Demir’s image whipped around social media within hours, accumulating potency with every share. News organizations were compelled to publish it—or publicly defend their decision not to. And European governments were suddenly compelled to open closed frontiers. Within a week, trainloads of Syrians were arriving in Germany to cheers, as a war lamented but not felt suddenly brimmed with emotions unlocked by a picture of one small, still form.
Please let me correct the description. The boy died 02.09, the first trains full with refugees arrived in Germany before the picture was shown in media. Germany opened the borders before this very sad picture was published. But yes, it is very sad, that so many european countries still not open their borders and few countries have to carry the "burden" alone.
This picture made me cry at work (and I am a man), because he remembers me of my own son of the same age. Too many children suffer during all this useless wars which only give few men money and power but destroy thousands and millions of lives.
It’s never easy to identify the moment a hinge turns in history. When it comes to humanity’s first true grasp of the beauty, fragility and loneliness of our world, however, we know the precise instant. It was on December 24, 1968, exactly 75 hours, 48 minutes and 41 seconds after the Apollo 8 spacecraft lifted off from Cape Canaveral en route to becoming the first manned mission to orbit the moon. Astronauts Frank Borman, Jim Lovell and Bill Anders entered lunar orbit on Christmas Eve of what had been a bloody, war-torn year for America. At the beginning of the fourth of 10 orbits, their spacecraft was emerging from the far side of the moon when a view of the blue-white planet filled one of the hatch windows. “Oh, my God! Look at that picture over there! Here’s the Earth comin
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