Photograph, Print
Photo credit: © Joe McNally
Accession Number: C.2015.266.2
Dimensions: 109 in X 44 in X 0.08 in
Dimensions (Metric): 276.86 cm X 111.76 cm X 0.2032 cm
Dimensions (Metric): 276.86 cm X 111.76 cm X 0.2032 cm
Source: Joseph McNally
Credit Line: Collection 9/11 Memorial Museum. © Joe McNally.
Howard Hawkins, Iron worker, International Association of Bridge, Structural, Ornamental, and Reinforcing Iron Workers Union, Local 40
Description
Life-sized Polaroid photograph taken by Joe McNally depicting Howard Hawkins, Ironworker, Local 40. Hawkins is wearing a heavy Carhartt coat and gloves with blue jeans. He is holding his wrecking torch in his hands and wearing a red hard hat with goggles perched on top.
Life-sized Polaroid photograph taken by Joe McNally depicting Howard Hawkins, Ironworker, Local 40. Hawkins is wearing a heavy Carhartt coat and gloves with blue jeans. He is holding his wrecking torch in his hands and wearing a red hard hat with goggles perched on top.
Historical Notes
Ironworkers were among the first wave of skilled construction personnel to arrive at the World Trade Center disaster scene to assist in the immediate recovery. At Ground Zero, the trade brought special knowledge about how to cut and remove the steel systematically. In the days after the attacks, Howard Hawkins and his colleagues worked 12-hour shifts with firefighters and K-9 teams in areas with possible survivors. In the weeks and months that followed, they assisted crane and grappler operators working to clear the space. Hawkins reflected to the photographer, "You have bad days, when you see a body or families mourning. Good days are when you feel all the support. People lined the West Side Highway, cheering you when you finished a shift."
Ironworkers were among the first wave of skilled construction personnel to arrive at the World Trade Center disaster scene to assist in the immediate recovery. At Ground Zero, the trade brought special knowledge about how to cut and remove the steel systematically. In the days after the attacks, Howard Hawkins and his colleagues worked 12-hour shifts with firefighters and K-9 teams in areas with possible survivors. In the weeks and months that followed, they assisted crane and grappler operators working to clear the space. Hawkins reflected to the photographer, "You have bad days, when you see a body or families mourning. Good days are when you feel all the support. People lined the West Side Highway, cheering you when you finished a shift."
Curator's Comment
In the weeks after September 11, LIFE Magazine photographer Joe McNally (b. 1952) invited rescuers, recovery workers, survivors, and bereaved family members to a studio in Manhattan’s Bowery district, not far from Ground Zero. Here, the participants were memorialized by a unique Polaroid camera—dubbed the Moby C—equipped with a lens from a U-2 spy plane. This room-sized instrument could capture an exposure of singular clarity on an eight-foot tall piece of film in the blackened studio. Each 90-second session required meticulous staging and absolute stillness. Whereas most photographers were concentrating on documenting the devastation of the attacks downtown, McNally was interested in recording the heroism and sorrow etched into the human faces at the center of this national tragedy. Those who faced the camera were mostly everyday people who sought no special recognition. “They came only with the intention of participating in a project, telling their story, and sharing in the telling of others,” McNally reflected.
The 9/11 Memorial Museum has enjoyed a long relationship with McNally's images. In 2006, McNally donated his portrait of FDNY Ladder 20 firefighter Adrienne Walsh to support the Museum’s nascent permanent collection. When the outdoor Memorial opened to the public in 2011, a selection from the series was borrowed from the photographer and rotated onto view in the temporary Visitor Center at 90 West Street. Annual acquisitions from the Faces of Ground Zero archive have continued, often as gifts arranged by McNally. In 2017, the Museum assumed custody of the remaining Polaroids in an agreement that will result in the collection’s completed donation by 2027.
The image in this record is the product of a color transparency from a Mamiya RZ 6x7 Pro II 120 format camera that McNally positioned to record a shot simultaneous with the Polaroid Moby C’s flash of light. The unique, original Polaroid exhibits a more subtle and creamier tonality.
HIDE
In the weeks after September 11, LIFE Magazine photographer Joe McNally (b. 1952) invited rescuers, recovery workers, survivors, and bereaved family members to a studio in Manhattan’s Bowery district, not far from Ground Zero. Here, the participants were memorialized by a unique Polaroid camera—dubbed the Moby C—equipped with a lens from a U-2 spy plane. This room-sized instrument could capture an exposure of singular clarity on an eight-foot tall piece of film in the blackened studio. Each 90-second session required meticulous staging and absolute stillness. Whereas most photographers were concentrating on documenting the devastation of the attacks downtown, McNally was interested in recording the heroism and sorrow etched into the human faces at the center of this national tragedy. Those who faced the camera were mostly everyday people who sought no special recognition. “They came only with the intention of participating in a project, telling their story, and sharing in the telling of others,” McNally reflected.
The 9/11 Memorial Museum has enjoyed a long relationship with McNally's images. In 2006, McNally donated his portrait of FDNY Ladder 20 firefighter Adrienne Walsh to support the Museum’s nascent permanent collection. When the outdoor Memorial opened to the public in 2011, a selection from the series was borrowed from the photographer and rotated onto view in the temporary Visitor Center at 90 West Street. Annual acquisitions from the Faces of Ground Zero archive have continued, often as gifts arranged by McNally. In 2017, the Museum assumed custody of the remaining Polaroids in an agreement that will result in the collection’s completed donation by 2027.
The image in this record is the product of a color transparency from a Mamiya RZ 6x7 Pro II 120 format camera that McNally positioned to record a shot simultaneous with the Polaroid Moby C’s flash of light. The unique, original Polaroid exhibits a more subtle and creamier tonality.
HIDE
