 Artists come from diverse backgrounds but we all feed from the same feast of art that has come before us. Leni Riefenstahl—what a name! She stands as a curious, albeit contentious, figure in the annals of film history. Often dubbed Hitler's favorite director, she created some of the most chillingly effective propaganda films of the Nazi regime, including Triumph of the Will and Olympia. It may seem straightforward to dismiss her as a mere purveyor of evil, but hold your horses! This is a woman whose artistic vision deserves a deeper look, particularly for any serious artist grappling with the intersection of art and ideology. Now, don’t get me wrong—Riefenstahl's role in the Nazi regime naturally invites our disgust and condemnation. Yet, it’s precisely this complexity that makes her worthy of contemplation rather than outright dismissal. I'll admit, I recently indulged myself with a short documentary on her life. Picture me, popcorn in hand, watching her deny any accountability for her actions while insisting she was “just doing her job,” much like a 1950s photographer shooting ads for cigarettes (ah, the irony!). Her case underscores the long-standing topic of how collaborators enable regimes to commit unspeakable atrocities. But I’m more intrigued by the role that art plays in this treacherous mix. Riefenstahl's aesthetic has been co-opted in various contexts—from selling perfume to sporting events, rock concerts, and political campaigns. Often, the people borrowing elements of her style might not even realize they’re inadvertently walking in her footsteps. As we dive into our own artistic pursuits, we must confront some pressing questions: Is there such a thing as fascist art? Look at the monuments of the former Soviet Union; a distinct style emerges. The murals from 1930s Italy spring to mind, carrying a certain political flair. But let’s ponder further—is the artistic style influenced by political ideology, or is it merely popular when that ideology takes root? Even scarier, can art actually shape political ideologies?
So, should we display art created by figures like Ziegler and Riefenstahl? Big question! Maybe we could simplify it: Should we view art through a political or historical lens? I’m not suggesting art exists in a vacuum free from political or ideological influence. Renaissance art teems with religious symbolism, and Ancient Greek statues proudly represent their pantheon of deities. The question at hand is more straightforward: once a piece of art is created, should we continue to interpret it through the lens of its political context? Consider this: every artist, regardless of their background, feeds off the moveable feast served up by those who came before. When we wander into museum galleries, we’re absorbing countless influences, whether we’re aware of them or not. Each visual experience shapes our artistic endeavors, guiding our every brush stroke and shutter click. But here’s the existential kicker: can you create art without being influenced by your surroundings? If that influence has a political angle, does that “taint” your work? Do we assign morality to art, much like we’d categorize fruit as “good” or “bad”? Take a look at the collector who proudly owns historical weapons from the Third Reich—does that validate their beliefs? And what about the individual flying a Nazi flag outside their house? Ah, now we’ve entered murky waters, haven’t we? Do we try to erase the works of artists who made questionable choices, lest they contaminate young minds? Shall we hold public bonfires to burn their works—oops, isn't that how we end up echoing the very ideology we wish to obliterate? Can we acknowledge that a person might be talented yet fundamentally flawed? This dilemma is echoed in my adoration for Edward Weston, whose stunning photographs capture my heart yet distract me with thoughts of his questionable family responsibilities. Upon reading his Daybooks, I found my perspective shifting; the man became separate from the artist in a way that almost felt liberating! So, is exposure to any art inherently harmful? Before you decide, allow me to draw a parallel to another passion of mine: wine. Wine appreciation is a journey that deepens with experience, much like our artistic pursuits. But if you continuously sip mediocre wine, you risk dulling your palate, losing the ability to appreciate the finer nuances of a truly excellent vintage. Can a similar dilution happen to an artist influenced by politically motivated work? If our goal is to create compelling art, I argue no. Art is a dynamic, subjective endeavor that should challenge our perspectives and provoke introspection. Sometimes, this art may carry political undertones, potentially influencing societal views. The real risk arises when we attempt to filter or eradicate specific works purely because we disagree with the political backdrop, equating artistic expression with political ideology—and that would diminish both art’s power and its significance in our lives. Instead, let’s embrace all art, comprehending its historical significance and the attempts to manipulate the viewer. Through this understanding, we cultivate empathy in our lives and work, enriching our artistic journeys.
Returning to Leni Riefenstahl, she blazed a trail as the first female producer and director in a male-dominated field, harnessing her relationship with her benefactor to forge her artistic path. She was truly ahead of her time in many ways, yet unfortunately, she found herself kissing the wrong hand along the way. Did her work bolster Hitler’s ambitions? Certainly. Did it help make his ideology more palatable? Absolutely. Should we shun her contributions today? No! Instead, let’s study them critically, grappling with the complex issues they present.
As artists, we should analyze Riefenstahl's work while acknowledging her moral failings. Everything she touched may be tainted, but wouldn’t it be a disservice to ignore the lessons gleaned from both her artistry and her undeniable complicity? Let's engage in constructive discourse rather than simply vilify the past; after all, such contemplation enriches our collective experience and hones our artistic sensitivities for the better.
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 The newest camera to my collection is the Leica iiif. Now I have a Fed I which is very similar to this camera but I decided I needed a true, vintage Leica, since the M6 is no longer vintage and is now a contemporary camera! So a little on this amazing marvel and why I see it as quirky. Stick around and I will tell you why I decided to buy it...the reason might really surprise you! In the grand kingdom of cameras, the Leica IIIf reigns supreme as a charming relic from 1953—think of it as the dapper gentleman in a black-and-white film who still carries a pocket watch. Sure, he might be out of date, heck maybe even dated...but he has a certain charm that cannot be denied. Let’s take a closer look at this splendid machine, shall we? Technical Specifications (aka The Nerdy Bits):
The Marvelous Advances Over Previous Models:
A Few Drawbacks (Because No Love Story is Perfect):
In Conclusion The Leica IIIf is a delightful blend of vintage charm, advanced mechanics, and a sprinkle of quirks that make it a true treasure in the world of photography. This thing is much smaller than most 35mm film cameras but it does have a bit of bulk. It is so well built that if you get a good version, properly CLA it you will have a great tool for years! I purchased mine via eBay from a seller called Granite_rose_studio by a gentlemen known as Steve. Steve is a Mechanical Engineer who likes to rebuild these cameras. He had completed a CLA and changed out the shutter curtains. This baby works as smooth as silk thanks to him! I am running it through a roll of film and will post the results soon! Why I bought it.... Sometimes photography is about the photograph. Sometimes it is about capturing the moment. But there are times when photography is about the experience. The history. Looking through the viewfinder I wonder of the many eyes that looked through it and what they saw. I wanted a camera dripping with history, one that is not simple to use, but one that you take out because you want to play with it. Like a fidget spinner for photographers!
 Photo by Thought Catalog on Unsplash We are losing the written word and it won't be found in the seat cushions. These days we are all looking to devour more information at a faster rate but this is nothing new. We went from reading books, to magazines and from that to internet pages and then to YouTube and now we are going to Tik Tok or Reels, or YouTube Shorts. The point is that we are looking for a rapid way to assimilate information.
I don't complain, this is a normal part of being human. I do however, wonder what we are giving up? While videos can show us a continuous series of steps on what to do, and a short reel of 2 minutes can focus on the key parts of the process, we are losing the opportunity to understand a wider range of topics. Don't get me wrong, I love some of my YouTube channels, the content creators work so hard to make something meaningful for us to watch. I appreciate their efforts and support them anyway I can. But again, for many of us this is our passion. Do we really want to digest our passion in massive bites? Or do we want to savor each piece, enjoy the additional flavors we can interpret by slowing down. Are we getting hooked on watching other people do what we are passionate about? My kids watch other people playing video games and this baffles me. But then I will watch a one hour YouTube video on some large format photography without missing a beat. Have I learned something? Usually...no. Have I been inspired, sometimes yes. But have I taken out my gear and used it on my own? No. Perhaps it is time to move back to internet blogs, magazines (even if out of print) and perhaps the occasional book? Perhaps we should consume data differently when we are in love? Perhaps we should not be looking for the quick lunch time special? Perhaps we should sit back and enjoy what we are learning. Take our time consuming the data and then go our and pick up our own gear. To this end, I have loaded some film in my old FED-1 this evening, after reading a bit about the old camera on an internet site. I plan to spend the morning in the darkroom but I will pull out this little camera in the afternoon and take a few pictures of the neighborhood. Nothing artistic, nothing to write home about but I will shoot just to shoot. Sure a YouTube video could have told me everything faster, but I enjoyed finding the right site, and going through the post and the comments of other readers. I will go back to YouTube to be sure....just not tomorrow. |
AuthorPatrick...confirmed film & digital photography addict. Archives
January 2025
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