High Flyer, December 1929: Fox photographer and daredevil R J Salmon dangles in a crate suspended from a crane to take an aerial shot of Fleet Street, London. St Paul’s Cathedral may be seen in the misty background. This picture is taken from the Daily Telegraph building. (Photo by Fox Photos/Getty Images)
The May 27, 1922 issue of The Evening Independent carried a story about moonshiners wearing “cow shoes” to trick revenuers — rather than leaving suspicious footprints leading up to their secret stills, they’d leave innocent-looking hoofprints in the dirt and grass.
On this day in LIFE magazine — January 7, 1946: Churchill’s Paintings
See more photos of Churchill here.
Soviet soldiers fight on the grounds of Catherine Palace. Pushkin District, Leningrad, 1944.
© Li Zhensheng, 1966-1976, A Panoramic View of China’s Cultural Revolution
Li Zhensheng’s photographs of the Chinese Cultural Revolution are perhaps the most complete and nuanced pictorial account of the decade of turmoil ignited by Mao Zedong.
Mr. Li was a photojournalist for the local paper in Harbin, capital of China’s northernmost province of Heilongjiang. That is where he did his life’s work documenting the Cultural Revolution, taking the “positive” propaganda images of masses whipped up in revolutionary fervor for the newspaper, and also the “negative,” more nuanced, questioning pictures.
He snipped those frames off his film and hid them under the parquet floorboards of his house until the revolution ended. He did not show these pictures in China until the late 1980s. Even today, given the sensitivities that linger over the Cultural Revolution in China, his work is more often seen overseas rather than at home. (read more)
Mr. Li, now 72, has gotten some attention — at least, outside of China — with the publication of “Red-Color News Soldier,” a book on his work.
Sim Chi Yin (New York Times) spoke with Mr. Li in his home in Beijing last September - read the interview and find more photos here.
Caption from LIFE. Goats on the rooftops clatter about and often butt and wrestle each other for the best positions on the ridges. Schweitzer imported a basic herd from Europe some years ago. Its playful descendants still flourish and are allowed to run freely through the village streets and orchard. See more photos here.
New Orleans milk cart, New Orleans, ca.1903
On this day in 1869, photographer Arnold Genthe was born in Berlin. Genthe emigrated to San Francisco in 1895, where he taught himself the art of photography. He is best known for capturing the 1906 earthquake, though ironically it destroyed his studio, equipment, and many of his photographs.
Image: Arnold Genthe, “Untitled, from The San Francisco Earthquake and Fire,” 1906.
More photographs by Arnold Genthe:
Arnold Genthe, Untitled, 1906.
Arnold Genthe, Looking up Market Street towards Twin Peaks, 1906
Arnold Genthe, Untitled, 1906
Tiny cameras strapped to homing pigeons, a method found by Julius Neubronner and then used during WWI, 1909.
Iconic Photo: Watching Bwana Devil in 3D at the Paramount Theater
This iconic photograph by LIFE magazine photojournalist J. R. Eyerman turned 60 this past week. Shot at the Paramount Theater in Hollywood in 1952, the image shows the opening-night screening of the first ever full-length, color 3D movie, titled Bwana Devil.
Two interesting facts regarding the image: (1) Polaroid played a role in what the moviegoers were watching and what they were wearing, and (2) the people in the photo didn’t actually enjoy the film.
Here’s what LIFE magazine said about the Paramount audience at the time:
These megalopic creatures are the first paying audience for the latest cinematic novelty, Natural Vision. This process gets a three-dimensional effect by using two projectors with Polaroid filters and giving the spectators Polaroid spectacles to wear. The movie at the premiere, called Bwana Devil, did achieve some striking three-dimensional sequences. But members of the audience reported that the glasses were uncomfortable, the film itself — dealing with two scholarly looking lions who ate up quantities of humans in Africa — was dull, and it was generally agreed that the audience itself looked more startling than anything on the screen.
The December 15, 1952 LIFE magazine issue in which this quote appeared dedicated a full page to the photograph above. It would soon go on to become an iconic image in American culture and the defining image of Eyerman’s career.