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What color was the explosion at Ripple Rock? Red, blue, yellow, black, combined to create an image, an impression, a spectacle in color.

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This is the story of a magazine, Life, set partly in and around this tall building on Rockefeller Plaza during Easter week, April 1958.

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But this building is only the hub of a worldwide news gathering operation.

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Here in the building's brain center, the wire room, messages flow steadily to and from the 600 editorial staff members of Life.

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This wire room is a sensitive link with Life's 15 domestic bureaus, 16 overseas offices, and a worldwide core over 300 stringers who day and night feed in news, fresh ideas, story suggestions, and long-range plans.

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Through these machines from the Seattle Bureau came first word of the world's largest non-atomic blasting job at Ripple Rock in British Columbia.

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Life is pictures, ideas visually expressed in tens of thousands of photographs, pouring in day by day to be examined, accepted or rejected.

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Printed or filed away.

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A brimming flood of pictures, unprecedented in volume, unparalleled in scope.

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The bulk comes from Life's 36 photographers all over the world, two of whom were assigned to the Ripple Rock story.

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Ripple Rock lies between Vancouver Island and the mainland.

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In his office in New York, reporter Ken Gouldthorpe digs through a mass of background material.

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Canadian admiralty charts, maps to help an artist to draw a diagram, instructions to cover the explosion by air, land, and perhaps even underwater.

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He types the assignment.

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Over the teletype, it goes out to Bob Shulman, Seattle Bureau chief.

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At Easter time, the West Coast team lays plans, while other Life stories brew around the world.

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Wednesday, April 9th, 10 a.m., in Belgium, photographer Mike Rougier visits the World's Fair in Brussels with reporter Israel Schenker helping carry the gear, the fate of all Life reporters.

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In the American Pavilion, they meet Saul Steinberg, whose witty murals adorn the U.S. exhibit.

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The reporter is the photographer's shadow, but he's far more, with ear tuned to the quotable quote, to capture the lively detail.

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And record the shots one by one.

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That same Wednesday, near a home, photographer Ed Clark flashes his pass at the White House gate, where he checks in to cover a presidential press conference.

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The photographers are arranged across a platform at the back of the room.

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After two terms of office and three illnesses, Mr. Eisenhower enters the conference room, shown here in color for the first time.

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The other half of the Life team, Charles Moore, takes notes on a question he just asked.

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Each press conference makes news, and our Washington bureau is always at hand.

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Photographs from the world of tomorrow. This April scene is set in the desert of White Sands, New Mexico.

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J. Ironman, master technician, shows us the loading of Life cameras into the nose of the Navy's Aerobie rocket.

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The flaming takeoff.

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The Earth falling away below, to reveal a strange glimpse of our planet.

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This photo montage from 100 miles up in the thin emptiness.

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Getting closer to Earth, a continuing source of pictures are aerial photographers like Tony Link.

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Tony's specialty is banking his own single-engine plane, flying solo as he is here at a perilous angle.

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Look ma, no hands, while he shoots the sprawl of suburbia, or the strange, compelling architecture of a new church, this one in Stamford, Connecticut.

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Churches yield artistic triumphs and pose photographic problems, as Demetri Kessel knows, but Demetri has the expert touch.

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This stunning Meroe de Alter screen shines forth in life's Easter issue as clearly as though painted yesterday.

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The Flemish masterpiece is at the Cloisters in New York.

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Pictures from all over, some feature, some news, some planned, some predictable.

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But the parachute jump of the 101st Airborne Division at Fort Campbell, Kentucky brought unexpected results. Disaster struck.

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Music

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The tragic death of five paratroopers and the injury of 150 others by freak ground winds became headline news.

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Music

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Expanded into a five-page black and white lead in life with pictures from United Press photographer Vic Cooley in Nashville.

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Life stories are found all over the world. Many spectacular color essays come from faraway places with strange sounding names.

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This Easter, Fritz Goro with an artist and reporter in tow set off for the ancient Mayan city Tikal, lost beneath the jungles of Guatemala.

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Excavations will be staffed by the University of Pennsylvania Museum and will go on for years.

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Goro's first views from the air were of a dense jungle through whose 130-foot canopy only the tallest temples protrude.

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But they hint of fabulous palaces to be uncovered and will be shown in exclusive pictures and paintings to our readers later this year.

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A project of major importance.

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Music

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Pictures from an even more colorful land, the South Sea island of Ang Tong Java.

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Music

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Elliot Ellis often roams with the men strut in gaily colored masks and plumage.

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The women just dance and dance and dance.

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Elliot does a little dance too and no wonder.

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Music

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Ellis often is equally at home on Broadway. Here today's stars posed for him in roles they've always dreamed of playing.

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Judy Holliday in The Glass Menagerie.

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Jason Robards Jr. in Idiot's Delight.

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And Peter Ustinov as King Lear. People, places, faces, wonder and tragedy. Life catches the world going by.

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The Ripple Rock assignment has been received in Seattle.

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A sunny Thursday, April 3rd, fine seaplanes standing by to fly equipment and photographers north to Vancouver Island and British Columbia.

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Music

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There's the Ripple at last, beautiful from the air but a menace to navigation.

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The ripples and eddies caused by twin peaks of rock only a few feet beneath the water.

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In a century they've claimed 114 ships, a hundred lives.

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DuPont of Canada has taken on the massive job of removal.

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Mounties warn local residents to open their windows against the shock waves and to leave home for the day.

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Launches are provided for transportation to and from the island.

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These heavy bunkers overlook the site and will shelter crew and cameras.

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Marshall Lockman, one of life's two photographers, photographs the mineshaft.

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600 feet below this point, tunnels lead underwater into the rocks where two and three quarter million pounds of high explosive lie ready.

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Music

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Out in a launch, technical wizard Ernie Stoud is over the Ripple with two skin diving photographers specially hired to try for pictures of the submerged menace.

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Hmm, what's this, a camera?

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Nat Farbman poses them for a shot.

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But the water proved too murky, the currents too treacherous.

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No farewell picture of the ugly rocks today.

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By dusk on Good Friday, all was in readiness. The Ripple Rock assignment awaited only execution.

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Music

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In contrast to a news story such as Ripple Rock, there are essays which take shape in the mind of a creative photographer such as Nina Lean,

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who we follow on her travels about the country, thinking, pondering, jotting notes.

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For her latest essay, she took the theme of happiness, that intangible personal human emotion.

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But let's eavesdrop on Nina's thoughts.

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Many people talk about happiness without really knowing what they mean.

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In my story, I want to show that happiness is made up of a lot of daily happy moments.

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For instance, warm candle glow around a birthday cake, the feeling of being loved and needed,

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driving around the country, I was thinking about those ideas for my pictures.

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At a studio in Connecticut, I watched this artist making a beautiful statue.

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Maybe immortal art. How much satisfaction she gets from her work.

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Music

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Everywhere along the roadside, I saw letter boxes.

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Letters can mean a lot to people. Those letter boxes became symbols to me.

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Those little things add up to happiness.

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By Easter, Nina's pictures were completed, and the writer and layout man take over.

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Skillful hands block out the pictures, text, captions.

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Music

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The parts become the whole. A major photo essay is born.

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And so we leave Nina Leen's dream world of happiness.

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The scene rippled rock, the time, early morning on Saturday, April the 5th.

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Five, six, seven, eight, five, four, three, two, one, fire!

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BOOM

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Slowly the grey smoke and cloud drift away into the rain.

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In the turbulent water, dead fish belly upwards bob on the curling crest of a tidal wave.

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Six hours later the sun shines again. The hazardous rocks only a memory.

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With cameras unloaded, the film takes off for New York, carrying with it the message,

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Operation a complete success.

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Operation a complete success. Such might well have been Charles Darwin's words on his return

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from the Beagle voyage. Years later came the origin of species.

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Life is now commemorating these epic discoveries with five expeditions in Darwin's footsteps.

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At 15,000 feet in the high Andes of Bolivia lie Laguna Colorado and Laguna Verde.

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Roger Tory Peterson, the famous ornithologist, is in pursuit of rare birds.

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His first discovery, a colony of 10,000 James flamingos, which experts thought extinct.

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This slog through miles of queasy mud, the bed of an ancient lake, is a grueling hike

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at so high an altitude.

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The Indian guides, descendants of the ancient Incas, strongly opposed the trip, for their

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main food is flamingo eggs and woe to anyone who disturbs the nests.

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As well as three different kinds of flamingos, Peterson found a bird never before photographed,

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a horned coot, its chick feeding busily by its side.

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Their nest is a huge heap of water weeds piled up from the lake bottom.

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Andean flamingos feeding and nesting and flying, the pale sky full of beating wings, just as

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Darwin saw them a century ago.

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A second Darwinian expedition finds artist Rudy Freund and the ubiquitous Alfred Eisenstadt

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exploring the Galapagos, volcanic peaks thrusting above the waters of the Pacific, where relics

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of earlier eras abound.

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Tortoises, a different kind on each island, penguins and iguanas.

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Izzy is entranced, tries the tortoises from every angle, including the jockeys.

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Back at his home in Connecticut, Rudy Freund is now at work painting the discoveries, still

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wearing the beard from his voyage in pursuit of iguanas to those remote islands.

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Slowly, in intricate detail and scientific accuracy, the illustrations come alive.

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Life uses artists whose varied techniques vividly supplement the camera's eye.

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The talents of life's artists are displayed in these books, assembled from the pages of

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the magazine, often best sellers, found in the home and in the classroom.

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Sometimes translated into foreign languages.

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A new life book is on its way this summer, a cookbook, called from the modern living

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department's colorful stories on desserts and salads, cocktails and cool concoctions.

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At Leoni's restaurant, the fabulous array of bottles on the wall of the cellar backdrop

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a spread of Italian dishes to gladden the heart.

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Everyone talking with their hands, perhaps mouths are too full to speak.

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At Ben Rose's studio, another chapter on cocktail parties is being photographed.

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Ben makes his final arrangements and here checks for authenticity.

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Behind the canapes are the feet of Mary Hammond's staff and their friends to suggest a merry

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party caught for a moment in a flash of strobe.

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Thousands of pictures with a common destination.

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At dawn Easter Sunday morning, here come our Ripple Rock pictures through a familiar door

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by special courier from the airport.

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In a record eight hours, transparencies will be in the hands of the editors.

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But first, raw film must be processed.

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Expert technicians must develop it.

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Sponge it off, roll by roll,

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and dry it on a whirly gig.

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Late that Sunday afternoon, the transparencies will be in the hands of Peggy Sargent, whose

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quick infallible eye is legend.

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Spread on a light table, they are weighed and balanced, expertly scanned for color,

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detail, focus, quality, composition.

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Eventually comes the word.

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They're good, from managing editor Ed Thompson.

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His problem now, to juggle quick closing advertisements, find story room in the mock-up.

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And around him, teamwork against the clock, turning that prosaic word editing into a speedy

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weekly panorama.

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By 11 p.m. on Easter Sunday, final pasting up, the choice of a title, and our pictures

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are off once again by the midnight flight to Chicago and the presses.

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Through its editorial page, Life Each Week speaks its mind.

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This Easter, its opinions were making headlines.

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Letters have swamped the letters department in an unprecedented way since this editorial

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appeared about education, followed two weeks later by this one.

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Frank Gibney, who wrote the editorials, and Jack Jessup, chief editorial writer, read

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over some of these missives, many pro and many con, but none neutral.

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A veritable storm of opinion for and against.

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A five-part series on education appeared in the magazine at the same time as the editorials.

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This lead picture was caught by Yale Joel, who attached a wire to the homemade ramjet

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rocket to trip the strobe lights as it hurtled by his battery of cameras.

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And the startled faces of these science students.

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Another photographer who has evolved a unique system of remote, but controlled picture taking,

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is Life's sports expert, George Silk.

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But George will tell you about it himself.

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I bought some holes in one ski and mounted a tripod head on the tip.

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I used a Panon camera, which has an extremely wide-angle lens,

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and put the release tube along the groove under the ski.

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Then up my leg, under my ski pants and sweater.

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The squeeze ball I tucked inside my mitten.

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I practiced with a ski patrolman for a while.

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The rig weighs four pounds, you know.

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And I had to train a bit to ski with this extra load on one toe.

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And following an expert down a steep trail isn't all beer and skittles, even without a camera.

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Usually I don't go for ski stories.

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But this story I really liked doing.

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You see, I wanted to take the reader down mountain right along with me, let him feel that big jump,

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and the rush of some fast action, and that swooping sensation.

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A lot of people wonder why skiers love this silly sport.

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But I've skied ever since I was a kid in New Zealand, and it's still one of my favorite sports.

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And the fellows that have seen a winter sunset like this one will understand why.

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By early Monday morning, our Ripple Rock pictures have arrived in Chicago from New York

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on their way to the production line. Step by swift step they come nearer to printing.

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Through the elaborate processes of photo-engraving, hand-touching, proofing.

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They move towards the presses. At R.R. Donnelly's massive plant, life is printed.

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Here life has its own color room where Ripple Rock was examined, proofed, and corrected once more.

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Dan Sibley marks a subsequent story, politics in Alabama, in this room.

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Soon the presses are rolling. In a matter of hours since the blast,

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Ripple Rock is on its way to the reader.

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As the presses roll, around the world, around the clock,

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wherever news is made, life and its photographers are on hand.

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This Easter, however, found seven photographers in New York.

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So we asked them over to our studio to meet you, and gave them an assignment.

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Lisa Larson just back from Hungary. Bob Kelly.

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Stan Wayman.

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Ralph Morse.

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Yale Joel. Joe Sherchell.

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And Walter Sanders. And a fantastic collection of cameras to boot.

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Hasselblad. Leica. Contacts.

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Minox. Pannon. Linhoc. And the assignment we gave them?

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Why to follow our story through. It's another kind of Ripple Rock.

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The fabulous Egyptian dancing twins, the Jamal sisters.

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The Jamal sisters.

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That's life too, brother.

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I wonder if they'll make the cover.

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What color was the explosion at Ripple Rock?

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Well, as we suggested before, the answer is fourfold.

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Our blast is blue, red, yellow, and black.

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All combined to bring you this impression of high explosive.

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From these four basic inks comes the kaleidoscope of color.

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Week by week, year by year, off these presses comes life.

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The end result of the emotions and craft and creative skill that go into the planning,

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executing, and editing of this picture magazine.

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A magazine whose ideals are so well expressed in these words of Justice Oliver Wendell Holmes.

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Thank you.