“Photography is a small voice, at best, but sometimes one photograph, or a group of them, can lure our sense of awareness.”

W. Eugene Smith

W. Eugene Smith was no doubt one of the greatest war correspondents of the last century. As the photographer for Life, he followed the island-hopping American offensive against Japan, from Saipan to Guam, from Iwo Jima to Okinawa, where he was hit by mortar fire, and invalided back.

His war wounds cost him two painful years of hospitalization and plastic surgery. During those years he took no photos, and it was doubtful whether he would ever be able to return to photography. Then one day in 1946, he took a walk with his two children, Juanita and Patrick, towards a sun-bathed clearing:

“I knew the photograph, though not perfect, and however unimportant to the world, had been held…. I was aware that mentally, spiritually, even physically, I had taken a first good stride away from those past two wasted and stifled years.”

While he was right about his stride towards recovery, Smith miscalculated the photo’s importance. In 1955, a heavily-indebted Smith decided to submit the photo to Edward Steichen’s now-famous Family of Man exhibit at the MOMA. There, it became a finalist and then the closing image, thus cementing its position as the ur-icon of all family photographs.

“I’ve never made any picture, good or bad, without paying for it in emotional turmoil.”

— W. Eugene Smith