The Flag-raising Photo
On Friday, February 23, 1945 at around 1:00 PM, five days after the Marines landed at Iwo Jima, Rosenthal was making his daily visit to the island on a Marine landing craft when he heard that a flag was being raised atop Mount Suribachi, a volcano at the southern tip of the island. Upon landing, Rosenthal hurried toward Suribachi, lugging along his bulky Speed Graphic camera, the standard for press photographers at the time. When he got about halfway up, he was told that a flag had already been raised on the summit. He continued up anyway to photograph the flag flying.
On the summit, Rosenthal discovered a group of Marines attaching a larger flag to a length of pipe. Nearby, another group of Marines stood ready to lower the smaller flag at the same instant the larger was raised. Rosenthal briefly contemplated attempting to photograph both flags, but decided against it, so he focused his attention on the group of Marines preparing to raise the second flag.
Rosenthal piled stones and a sandbag so he had something on which to stand, as he was only 5 feet and 5 inches (1.65 m) tall. He set his camera for a lens setting between f/8 and f/11 and put the speed at 1/400th second. Then, out of the corner of his eye, he saw the group of Marines start to raise the second flag. He swung his camera around toward the action and pushed the shutter. To make sure he had a worthwhile photo to send to the AP, he took another photograph showing four Marines steadying the flag, then he gathered all the Marines on the summit for a posed shot under the flag.
The camera used by Rosenthal to take the photograph is on display at the International Museum of Photography and Film in Rochester, New York. In later years, when asked about the photo, he would say "I took the picture, the Marines took Iwo Jima."
Read more about this topic: Joe Rosenthal
Famous quotes containing the word photo:
“All photographs are there to remind us of what we forget. In this—as in other ways—they are the opposite of paintings. Paintings record what the painter remembers. Because each one of us forgets different things, a photo more than a painting may change its meaning according to who is looking at it.”
—John Berger (b. 1926)