NACHO LOPEZ ORIGINAL PHOTOGRAPH: MAYA CIVILIZATION

México, N.d.. (2 inch non-continuous line with loss of image center left). 10x8 in. b/w photograph with photographer's stamp on verso, for magazine "Mañana" inscription in verso reads: " MEXICO ARQUEOLOGIA/CIVILIZACION MAYA", tipped in piece of paper with inscription: El grabado es maya clásico y se encontro en otra gigantesca piedra, oculta por la vegetación. Allí estaba el testimonio inobjetabe de la Ciudad Perdida, descubierta cuatrocientos años después de que la selva la devoró. Era el objetivo de MAÑANA." Nacho Lopez's role in Mexican photojournalism along with that of Hector Garcia are some of the most noteworthy of the mid-20th century. In an in-detail recount of Nacho Lopez's journalistic works, John Máraz (Nacho López y el fotoperiodismo mexicano en los años cincuenta) shows us, in fact, he was not as much a photojournalist as he was a photoessayist, and that one of his best sequences are "directed". Thus, while certain pictures are frankly posed, others, the most enduring ones, are takes of provoked situations - photo records of performances that are ahead of their time, series of images articulated for a purpose and published together. And sequences is what Nacho Lopez mainly photographed, as sequences is a great part of the records of the Mayo brothers, Enrique Diaz, Hector Garcia, Bordes Mangel, and all major Mexican photographers that published graphic essays and reportages in such magazines as Hoy, Rotofoto, Mañana y Siempre.