For Task 6 we were to create a presentation based around a photographer who interested us. This allowed us to research a photographer and try to gain some insights into how they used a camera to communicate their message.
Myself and 2 others in the class created a presentation about Alfred Eisenstaedt and we each chose a photograph that we would talk about for a few minutes in front of our peers.
Alfred Eisenstaedt [ ahy-zuhn-stat ]
Biography
Alfred Eisenstaedt was born in Germany in 1898. He was fascinated by photography and began taking pictures at age 14 using an Eastman Kodak folding camera. He liked using 35mm compact cameras and used a Leica, while other press photographers were using larger format 4”x 5” press cameras.
He went on to be hired by the Associated Press and captured the first ever meeting between Adolf Hitler and Benito Mussolini. And he captured the infamous ‘Eyes of Hate’ photograph where he caught the moment Goebbles realised he was Jewish.
Eisenstaedt and his German Jewish family had to flee Nazi Germany and they found a home in America, and Eisenstaedt got work with LIFE magazine.
Robert Andreas wrote in ‘The Great LIFE Photographers’, "Eisenstaedt never lost his childlike interest in things and people, in what made them what they were. He would put his subjects at ease, then get up close and take a few pictures—he didn't need roll after roll—then it was on to the next person, the next happening, tirelessly pursuing the heart of the matter that he saw so easily and wanted very much for us to see too."
Photographic shorthand eye for the essence.
ROGER HURLBURT wrote Eisenstaedt‘s obituary for The Boston Globe and said that he was an artist who had an ‘eye for the essence’ of a thing, something he went on to describe as, ‘photographic shorthand.’ Hurlburt wrote, ‘Eisenstaedt pioneered the use of a hand-held camera, believing it allowed him to respond quickly as events were happening. Ingeniously, he always used the lighting at hand, even indoors.’ By looking at his most famous photo we can see the candid picture is shorthand for the war being over, relief, exaltation, and joy.
His thoughts on his creative practice and how to be candid:
By using a smaller camera, it allowed him to capture people in a more relaxed, candid way. He is quoted as saying, "They don't take me too seriously with my little camera."
Eyes tell all
“In a photograph a person’s eyes tell much, sometimes they tell all.” – Alfred Eisenstaedt
Work alone
“I don’t like to work with assistants. I’m already one too many; the camera alone would be enough.” – Alfred Eisenstaedt
Find the story
“All photographers have to do, is find and catch the story-telling moment.” – Alfred Eisenstaedt
Diplomat
“I have to be as much diplomat as a photographer.” – Alfred Eisenstaedt
Loz’s Choice
Wide range of facial expressions on children at a puppet show - The moment the dragon is slain, Guignol puppet show, Parc de Montsouris, Paris, 1963.
What I love about this image is how the camera is being used to capture the reaction of the audience as opposed to the drama of the actual puppet show.
The composure is excellent and the array of faces flow across the page and give you a glimpse into the horrors being witnessed.
There is both action and stillness which help the viewer feel the sense of mayhem.
This is an intimate photograph where bare reactions are exposed, focusing on the eyes. The photographer has gone unnoticed by all but one.
Flo’s Choice
La Scala (1933) was captured in Milan. La Scala is an opera house where many of the finest singers of the world have appeared.
The photograph has a great composition. The eye follows a perspective line created by the auditorium and leads the viewer to the subject of the photograph.
Alfred himself commented on this photograph in a documentary "Master Photographers" for BBC (1983) that "without the girl, it's no picture at all." With the subject into the frame, the lines have a purpose which is to reveal the “lovely, lovely young society girl”.
His way of capturing candid photographs is remarkable. In the same BBC documentary (1983) , Alfred said "I never push people around so I have to be smooth. I have to be more or less diplomat. To be a diplomat than a photographer. (...) When I have a camera in my hand I don't know feel" He also mentioned that in order to capture people's emotions he needs to blend in and hold his camera naturally. Moreover he must have an emotionless expression "like a stone, so they don't know I photographed them".
Josh’s Choice
This photo was captured by Eisenstraedt during a 6 month spell in Japan. The series of photographs focussed on the tattoo's of Yakuza displayed on a number of both men and women. The tattoo's are known as 'irezumi' and aren't visible when clothed.
I feel this image sends a powerful message that things aren't always as they seem. To the naked eye fully clothed you would be none the wiser that what lay beneath the clothing was a body full of rich artwork. It also demonstrates a great way of expressing yourself in more ways than just words. Most of these tattoo's protect the individual from evil spirts and demonstrate social rank. Each tattoo is created by hand using nails and wooden handles, I feel this has a underlying connection to Eisenstraedt's work although he produces art through the use of a camera and the Yakuza artists with nails and wood both create a masterpiece.
Conclusion
Alfred Eisenstaedt, the father of photojournalism, had a long life and career and worked for Associated Press, Germany and Life Magazine, US.
He is best known for his candid photographs such as:
• V-J Day (1945)
• Eyes of Hate (1933)
• Ice Skating Waiter (1932)
• First meeting of Hitler and Mussolini (1934)
• Guignol puppet show (1963)
"His pictures of musicians, writers, actors and politicians of pre-war Germany are a unique historical record of events which shaped much of our present-day life." (BBC, 1983)
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