WORLD WAR 2 was really the first multi-media war. True – photography was present in the American Civil War (or as my late grandma used to call it “The Late Unpleasantness” among some of her milder epithets – but we digress). Motion pictures were still embryonic and grainy when WWI burst on the scene and so most people’s information of the war came via print — newspapers mostly. WW2 changed that as along with “traditional” media, a new breed of journalist, the photo-journalist, appeared and significantly added to the wartime narrative via imagery. Human beings are visual creatures (and some say the male of the species especially so) and while the best of the traditional journalists could still catch you with a compelling story, it was the photo-journals that brought the war home. In stark black and white or color (Kodachrome™ no less) we were flooded with imagery from the banal to the heart wrenching. Through the pages of magazines like Look and Life we followed the war from the images of still burning ships in Pearl Harbor, across North Africa with Patton, above Occupied Europe in a Flying Fortress or from the decks of a warship like the USS Indianapolis, the war was in our parlors, soda stands, five-and-dimes and scattered about break rooms at our work places. From the skyscrapers of New York, to the manufacturing plants outside Detroit to a Nebraska farm, the work of photographers like Edward Steichen (who assembled what came to be perhaps the most famous team of photographers during the war) gave heretofore unprecedented access into a global war supported by those most distant from it.
But it wasn’t just the “name” photographers who set this precedent. Unheralded unit photographers captured and documented all the details of this massive war effort. Photographers such as Alfred Joseph Sedivi, ship’s photographer onboard USS Indianapolis were every bit as important as the byline photogs and the story they told gives us today, a window into a piece of America’s history and heritage we might otherwise miss. Except that today, that history, that noble heritage is literally crumbling away in the ace of the onslaught of time and environment. The Naval Institute is endeavoring to preserve this heritage though and is working to both preserve and transfer photos to digital form — their first major undertaking in this effort is the preservation of Sedivi’s work and other rare images from the Indianapolis. Doing so requires fiscal support and hereto, the Institute is trying something new by funding through Kickstarter. To quote the Institute:
…the Institute has launched a effort to raise the funds needed to restore and digitize all 1,650 photos. With your generous donation, we can ensure that this important collection of photographs will be available for the survivors and their families, as well as historians, the public, and future generations. Once digitized, the collection will be made available for viewing online via the Institute’s website. More information about the photography collection of Alfred Joseph Sedivi in the current issue of Naval History magazine. $3,000 goal would provide the funds to digitize the entire 1,650 photo collection and preserve the original photos, including preservation materials (archive boxes, poly slides for each photo). The Institute’s stretch goal of $7,000 would enable the purchase of a quality digital camera and copy stand mount allowing for the photo albums to be digitized without being taken apart. The albums would then be preserved and properly stored in their original and current condition. If funds raised total $10,000 or more, the Naval Institute will develop a traveling exhibition of the photographs to be displayed at museums and locations across the US.
It is a worthy endeavor and early success would aid larger and more complex projects in the future. Head over and read more about it here. It’s our heritage at stake – let’s see what we can do to preserve it.