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One photo shows one of the stakes at which bodies were burned when the crematoria could not manage to burn all the bodies. The bodies in the foreground are waiting to be thrown into the fire. Another picture shows one of the places in the forest where people undress before 'showering'—as they were told—and then go to the gas-chambers.
Her research on khipu boards, a herding khipu collected by Max Uhle in 1895, and other khipus surviving in Andean communities led her to argue that the ply direction of knots on khipu cords and the colour of the fibre were significant ways of encoding meaning in khipus. [12] [13] [14]
The word Quipu is derived from a Quechua word meaning 'knot' or 'to knot'. [16] The terms quipu and khipu are simply spelling variations on the same word.Quipu is the traditional spelling based on the Spanish orthography, while khipu reflects the recent Quechuan and Aymaran spelling shift.
López used the wet-plate collodion process, making and developing his plates in a portable darkroom. The plates were sensitive to blue light only; his darkroom was an orange tent. This was the first time photography had covered South American warfare and his images became iconic. [27]
Over the years, Alpert gave several contradictory versions of the event, with dates ranging from autumn 1941 to 1943. [1] [2] Alpert was consistent in that he did not know the officer's name and that the photograph's title Kombat ('commander of a battalion') was likely inaccurate – after he took it, he overheard that "the kombat is killed" and tentatively associated this message with the ...
Some photographs were taken by the camp prisoners themselves, for example by Wilhelm Brasse [11] or Francisco Boix, working as aides for their Nazi overseers. [5] There were also photographs taken in the ghettos by their Jewish inhabitants, some with official permission, some in secrecy as an act of defiance and for evidence purposes. [12]
The photographs the unit produced were used as the basis for at least two contemporary books: Power In the Pacific – compiled by Steichen to accompany an exhibition by the same title at the Museum of Modern Art [4] The Blue Ghost – a record of Steichen's November 1943 tour on board the USS Lexington. [5]
It was the first Allied unit to provide film of the assault waves landing in Sicily and Normandy, the first to get still pictures from Normandy onto the front pages of the world press, and the only one to produce colour pictures of Operation Overlord. [2] Among its members were: Charles Roos, who was the first Allied cameraman ashore on D-Day.