In April 1963 the photographer Fiona Adams took a picture with her old twin-lens Rolleiflex that more than 40 years later Terence Pepper, the curator of the National Portrait Gallery’s photographic collection, would describe as “one of the defining images of 20th-century culture”.
It records a moment during a visit that four young men in dark suits and fancy footwear made to one of London’s surviving wartime bombsites. This one was at the junction of Euston Road and Gower Street and its crater was still half-filled with calcified rubble. As instructed, the four positioned themselves a little behind the edge of the crater. Then, at Fiona’s command, they jumped as high as they could.
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