When Life journal despatched John Loengard to Miami to photograph the Beatles in February 1964, he had a unusual thought: Pose them in a swimming pool, as a Fab 4 of bobbing heads. However on a really chilly day, he may discover solely an unheated pool.

The Beatles had been reluctant to take the dip, however their supervisor, Brian Epstein, urged them in, citing Life’s significance. “It was very, very chilly, and so they had been turning blue, so after a minute or two we allow them to get out,” Mr. Loengard told The Guardian in 2005.

The image caught John, Paul, George and Ringo smiling and singing within the water throughout their introduction to america. To Mr. Loengard, it was his most American image in 11 years as one in every of Life’s main photographers.

Mr. Loengard died on Might 24 at his residence in Manhattan. He was 85. His daughter Anna Loengard mentioned the trigger was coronary heart failure.

From round age 11, when his father received him his first digicam, a Kodak Brownie, Mr. Loengard (pronounced LOW-en-guard) understood that there was magic in pictures, that photos caught inside a field may endure endlessly.

At Life, the place phrases had been subservient to photos, Mr. Loengard prolonged that magic and have become one of many journal’s most influential photographers, following within the path of Alfred Eisenstaedt, Margaret Bourke-White and W. Eugene Smith.

Working virtually completely in black and white, Mr. Loengard photographed stars like Judy Garland and Jayne Mansfield, and heads of state like President John F. Kennedy, strolling in Frankfurt with German officers in 1963, and Queen Elizabeth II on a visit to Ethiopia in 1965.

He captured Louis Armstrong spreading balm over his chapped lips. He created a portrait of grief in Myrlie Evers’s comforting of her 9-year-old son, Darrell, on the funeral in 1963 of her husband, the civil rights chief Medgar Evers, who had been murdered. He caught the poet Allen Ginsberg almost hidden by a veil of cigarette smoke, its wisps seeming to increase from his hair.

In 1966 and 1967, Mr. Loengard went to New Mexico to {photograph} the modernist painter Georgia O’Keeffe. He didn’t need to depict her as different photographers had, amongst them her husband, Alfred Stieglitz, and Yousuf Karsh. He serendipitously discovered a brand new solution to painting her when she advised him about killing rattlesnakes on her property with a stick.

“As we had been having lunch, she pulled out from the sideboard packing containers of the rattles that she’d collected,” he recalled in “Life Photographers: What They Noticed” (1998), a set of 43 interviews he carried out (and one which another person carried out of him). “I figured O’Keeffe want to be identified to the readers of Life journal as a killer. I requested if I’d take photos on the desk.

“‘Definitely,’ she mentioned. “I photographed her hand shifting the rattles round one of many little packing containers, with a picket match.”

The O’Keeffe images, a few of which appeared in Life, had been included in a e-book, “Georgia O’Keeffe/John Loengard: Work and Images,” printed in 2006.

Publishers Weekly said the side-by-side displays of Ms. O’Keeffe’s work and Mr. Loengard’s pictures afforded “a wealthy viewing expertise that elevates appreciation of each.”

After Life stopped publishing weekly in 1972, Mr. Loengard stayed at its dad or mum firm, Time Inc., with its journal improvement group; he helped begin Folks journal in 1974 and served as image editor for particular editions of Life and of a month-to-month model of Life that started in 1978. He left in 1987 to freelance for varied publications, together with Life and Folks, and for company reviews.

John Borg Loengard was born on Sept. 5, 1934, in Manhattan. His father, Richard, was an engineer and the president of United Chromium; his mom, Margery (Borg) Loengard, was a homemaker.

Along with his Brownie, younger John took photos of his household and mates and of native landmarks. Along with his father’s assist, he developed his photos within the rest room.

“I’ve been hooked ever since,” he told Rfotofolio, a pictures web site, in 2016.

He took photos for his highschool newspaper. And whereas attending Harvard College, the place he earned a bachelor’s diploma in American historical past, he received his first project from Life, to {photograph} a tanker that had gone aground on Cape Cod.

The photographs by no means ran, however he received extra assignments. He was employed by the journal in 1961.

At Carnegie Corridor that yr, he took a dramatic photo of Judy Garland as she bent over to the touch the arms of viewers members. All eyes had been riveted on her, together with these of 1 man who appeared rapturous. It’s an emotional image, however Mr. Loengard mentioned it was not a great one.

“I fudged particulars and relied solely on sturdy type,” like her again and head and the open mouth of her ecstatic fan, he wrote in “As I See It” (2005), a retrospective of his work. “The digicam’s veracity was not wanted.” It would as effectively have been a portray, he added.

After leaving Life, Mr. Loengard grew to become as famend for his books as for his pictures. He wrote about his personal work in “Footage Beneath Dialogue” (1987) and “Second by Second” (2016); commented on evocative Life photos of human expression in “Faces” (1991); paid homage to the photographic course of in “Celebrating the Adverse” (1994); and compiled his portraits of Annie Leibovitz, Richard Avedon, Henri Cartier-Bresson and different photographers in “Age of Silver: Encounters With Nice Photographers” (2011).

When American Photo magazine ranked him 80th among the many 100 most vital individuals in pictures in 2005, it described him as a “great photographer” who had “turned his intimate information and keenness for Life right into a exceptional profession as a author.”

Along with his daughter Anna, Mr. Loengard is survived by one other daughter, Jenna Loengard; his son, Charles; three grandchildren; and two step-grandchildren. His marriage to Eleanor Sturgis resulted in divorce.

Certainly one of Mr. Loengard’s photographic heroes was Mr. Cartier-Bresson, the grasp of road pictures, who had performed his finest for a few years to keep away from having anybody {photograph} him.

When Mr. Loengard requested him to pose for photos that may accompany a Museum of Trendy Artwork exhibition of his early work, Mr. Cartier-Bresson requested, “Can you are taking all the photographs from behind?”

No, he mentioned, he couldn’t.

“I felt crucial factor was to nail him down, as rapidly as potential — get that face — after which he began taking photos of me, and he went click-click,” Mr. Loengard said on the PBS show “Charlie Rose” in 2011, “and I had a motor on my digicam, so I went ‘zeep-zeep,’ and we gave the impression of two bugs getting focused on one another.

“He thought this was amusing, and he giggled.”

The Pacific Times