“Fiona had always been shot as a waif – tendrils of hair blowing (dressed in lingerie), out in some sort of lily field. She told me she wanted to chuck that scene and be a warrior woman in a suit of armor.”
I’m working on a series from my images from a protest in my hometown called.. “No MoRe BluEs FroM Da BoYs iN BluE” Hopefully I can get someone to let me put on an exhibition. Looking forward to sharing this story with the masses. Keep spreading the light!! #MyObligation#photographer
In fashion, what goes around comes around. What was stylish 20, 30, even more than 40 years ago can still make a comeback and look en vogue. LIFE magazine documented the 1969 trends of American youth culture, and many traces of them are still worn today.
Hippies and disco culture shaped the way people dressed themselves, and these fashions were considered “counter culture” at the time. Fringed vests, bell-bottom jeans, and miniskirts were part of the new trends and attitude towards expressing yourself through clothing. “The latest rule in girls’ high school fashion,” LIFE magazine wrote in 1969, “is that there isn’t any.”
Forty years after the death of Life magazine photojournalist Eliot Elisofon, the Smithsonian’s National Museum of African Art is celebrating the legacy of the photographer who offered an extensive look at post–World War II Africa over several decades. “If you look at the history of how Africa was represented in photography in the 20th century, you’d would be hard pressed to find someone who was more prolific in shooting photographs of Africa and had more of an impact than Elisofon,” said Amy Staples, the curator of “Africa ReViewed: The Photographic Legacy of Eliot Elisofon.”
Elisofon went on 11 trips to the continent, including a tour as a war photographer in which he accompanied Gen. George Patton through North Africa and a four-month trip from Cape Town, South Africa, to Cairo in 1947 that culminated in a Life cover story. Elisofon’s images are significant for the way they helped change American perceptions of Africa in the 20th century, which had for the most part been informed by inaccurate literary and film representations. “He was looking for authenticity and despised these films like Tarzan and safari films. He really felt they were a disservice,” Staples said. “He wanted to illuminate what he considered to be the richness and the dignity and the beauty of African culture and society.”