Welcome to this sample collection which gathers together articles from notable contributors that appear in this archive, and provides you with links to view the articles on the Gale Primary Sources platform.
For this collection, we have curated sample articles from contributors that appear in the archive, ranging from internationally renown thinkers to respected journalists, all of which contributed content that serves as a resource for research. Please remember that this guide is a curation of sample content: there is a lot more available in the full archive, far beyond the examples we have selected here. If you would like to explore the content of the archive and see the functionality of the Gale Primary Sources platform, there is a link to start a free trial at the end of this guide, along with links to find your local representative if you have any questions.
Bill Brandt (1904-1983) is widely considered to be one of the most important British photographers of the 20th century, documenting all levels of British society. In the late 1930s, working as a photojournalist for Picture Post, Brandt photographed the industrial cities and coal-mining districts of northern England, creating images that reveal the plight of England’s industrial workers during the 1930s. When World War II began, Brandt became a staff photographer for the British Home Office, capturing Londoners crowded into air-raid shelters in the city’s underground train stations.
John Chillingworth joined Picture Post in 1943 and his talent was quickly recognised by the Picture Post’s editor at the time, Tom Hopkinson (1905-1990). After three years of National Service, he rejoined the magazine as a photographer, mentored by Kurt Hutton (1893-1960), and over the next six years he was to create a number of memorable, sensitive images. Developing a naturalistic style, he mastered the art of remaining unobtrusive while taking his photographs, which helped in creating his notable and moving series of picture essays of children in post-war Korea and Japan.
Bert Hardy (1913-1995) was the Staff Photographer for the Picture Post from 1941 to 1957. Hardy was a self-taught photographer, and is pictures of the Blitz were among the finest taken by any cameraman. He was with the Allied troops that took part in the D-Day landings in June 1944, and also photographed the liberation of Paris. He followed the troops into Germany and took photographs of the Bergen-Belsen, showing the public the horrors of the camp. Back in Britain after the war he moved into photographing the social scene, particularly life from the underside.
Godfrey Thurston Hopkins (1913-2014) photographed a variety of subjects, produced in response to the needs of various editors. After studying graphic illustration, Hopkins decided he wanted to join the Picture Post after serving in World War II, where he often encountered copies of the Picture Post. Starting as a freelancer, he joined the staff in 1950, and remained there until the end of the magazine in 1957. His typical subjects are people caught in their typical social environment. In a varied career, Hopkins also did illustration and teaching, before settling on painting toward the end of his life.
Kurt Hutton (1893-1960, originally Hübschmann) was one of several Germans working at Picture Post, and one of the founding members of the magazine. After working in Germany for the Dephot Agency in the early 1930s, Hutton emigrated to the United Kingdom in 1934 and began working for Weekly Illustrated. He helped introduce the Leica to Britain, shooting some of the most enduring images of the era on a camera derided by many of his peers.
One of the pioneers of modern photojournalism, Felix Man (1893-1985) contributed more than half the photographs in the first issue of Picture Post. Man was regarded as a diverse and flexible photographer, covering stories from farmyard workers to eminent politicians including Winston Churchill (1874-1965). Man’s subject matter was never confined to the documentary, his interests ranging from portraiture, fashion, and theatre, though his most famous photographs are of Benito Mussolini in the vast auditorium.
As a woman, Grace Robertson (1930-) had access to many subjects closed to a man, including women helping one another to wash at a Turkish bath, girls getting ready for a party, and a woman gave birth. One of her most iconic photos is of two women laughing as they try to hold their skirts down on a rollercoaster, deliberately echoing a picture taken 18 years earlier by a fellow Picture Post photographer, Kurt Hutton. Her photography career began in 1950, when she had her first story published in the Picture Post, the photographs taken on a camera given to her by her father the previous year.
Anne Eleanor Scott-James, Lady Lancaster (1913-2009) was one of Britain’s first female career journalists, who began her career at Vogue in 1934. At the outbreak of World War II, she joined the Picture Post, serving as the Women’s Editor from 1941 to 1945. During her time there, she explored how women’s lives were changed by the war, both domestically and socially, ranging from cooking with rations to women working in the factories. After her tenure at the Picture Post, she moved to Harper’s Bazaar, released her first novel in 1952, and became a columnist for the Daily Mail, before leaving journalism in the 1960s.
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