Because of this, Hitler had Goebbels removed from a random group photo. Apparently, he offended Hitler at some point in time. Incidentally, propaganda (a term not necessarily bad unto itself, but in the shadow of the Nazi usage, now has a negative connotation) was so powerful in the Nazi party, not even Goebbels was immune from it. Two years later, Eisenstaedt would emigrate to the United States amidst growing Nazi targeting of the German Jews. And yet, he stepped up to take the photograph anyway. He was facing a man who’d be intricate in the deaths of countless people. If I have a camera in my hand, I don’t know fear.”įor this image, Eisenstaedt was in the heart of the lion’s den. Goebbels knew of Eisenstaedt’s heritage, so when the photographer moved in closer to create an image of the propagandist surrounded by his officials, there was nothing amicable to be found.Įisenstaedt described the interaction during the photograph: “He looked at me with hateful eyes and waited for me to wither. It lacked the impact and awareness that physically being close with the camera could create. When he travelled to a League of Nations meeting in Geneva, his first image of Goebbels was from far away and isolated. Eisenstaedt was a German-born Jew, living in a country with boiling anti-Semitism. He photographed Joseph Goebbels, the Nazi National Minister of Propaganda during World War II. In 1933 he made what is in my opinion one of his best image. While still living in Germany, he photographed rising political figures of his country. But he had a portfolio much larger than that one famous image. Most people know his work through the Times Square photo when the sailer kissed the nurse (he also, incidentally, makes a character cameo during the opening credits to the Watchmen film). An avid photographer while growing up, he began freelancing after the war and would eventually begin working for the AP. He was born in Germany and fought for that country during WWI. One photographer I like to point out is Alfred Eisenstaedt. But no matter which, the utmost importance is learning how to deal with the inherent fears. Other fields are the interpersonal struggle of politics or etc. Some photography fields require photographers to step into war zones. Luckily, there have been numerous instances of facing fear in the history of photography. With a project like this, context is helpful. They had to identify two things, either physical or emotional, and come up with a way to use the photographic process to ideally overcome the fear. Through the use of self-reflection in a class project called “Facing Fear,” I used this as an opportunity to get former students to think about the camera on a personal level. There’s no limit to our personal obstacles. It could be stage fright, fear of spiders, being alone, being in crowds, certain people, or anything else. We all have one thing(s) or another that may, or may not, hold us back from our goals.
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