![]() ![]() "Eisenstaedt on Eisenstaedt: A Self-Portrait" is a captivating self-portrait by Eisenstaedt himself. For practicing photographers, it offers valuable insights into the evolution of his photographic style and serves as a rich source of inspiration. This book showcases Eisenstaedt's diverse range of subjects and his unique ability to capture the essence of a moment. It presents photographs dating from his life in Germany in the 1930s through his long career with Life magazine. "Eisenstaedt: Remembrances" is a comprehensive collection of work by Alfred Eisenstaedt. He also occasionally used medium-format Rolleiflex cameras, especially for portraits. This compact and lightweight setup enabled him to capture candid moments without drawing attention to himself. Photography GearĮisenstaedt primarily used a Leica rangefinder camera with a 35mm lens, which allowed him to work quickly and unobtrusively. His work has been exhibited in galleries and museums around the world, and he has received numerous awards and accolades for his contributions to photojournalism. Some of Eisenstaedt's most famous images include "V-J Day in Times Square," which depicts a sailor passionately kissing a nurse in the midst of a celebratory crowd on Victory over Japan Day, and his candid portraits of famous personalities like Marilyn Monroe, Sophia Loren, and Winston Churchill. ![]() He once said, "It is more important to click with people than to click the shutter." This philosophy is evident in the warmth and humanity that radiate from his photographs. This approach allowed him to document significant historical events, such as the signing of the Treaty of Versailles and the end of World War II, as well as everyday life in the cities he visited.Įisenstaedt was known for his patience and perseverance, often waiting for the perfect moment to press the shutter button. He excelled at street photography and candid portraiture, often using natural light to illuminate his subjects. ![]() Here, celebrates Paris in the spring through the lens of Eisenstaedt’s iconic puppet-show picture-as well as a number of photographs of Parisians and their city that he made around the same time, but that never ran in LIFE magazine.Eisenstaedt's photographic style is characterized by his ability to capture the essence of a moment with spontaneity and authenticity. My brain does not register, only my eyes and finger react. It carries all the excitement of the children screaming, ‘The dragon is slain!’ Very often this sort of thing is only a momentary vision. But the best picture is the one I took at the climax of the action. The master photographer himself, meanwhile, said of this very picture: “It took a long time to get the angle I liked. Here, the picture tells us, is an innocence that can remind even the most jaded of what it was once like to believe, to really believe, in the stories that unfold before our eyes onstage, or onscreen. George slays the mythical beast, Eisenstaedt’s picture feels as fresh as when it was made, more than 50 years ago. Capturing the thrill, the shock, the shared triumph-over-evil that the children feel at the very moment when St. Of all the pictures made of that Paris - the Paris of the last century, when the city was still largely depicted in beautiful black and white - perhaps none is more famous than Alfred Eisenstaedt’s unforgettable shot of kids at a Parisian puppet show, “Saint George and the Dragon,” at an outdoor theater in 1963. Hotchner), “If you are lucky enough to have lived in Paris as a young man, then wherever you go for the rest of your life, it stays with you, for Paris is a moveable feast.” Picture the Paris, in other words, that inspired Hemingway to remark (according to his friend, the writer and raconteur A.E. Picture Sacré Cœur and Montmartre, the flower peddlers and the Champs-Elysees, the mansard roofs and the zinc bars, Sainte-Chapelle and the Marais. Picture lovers walking the winding streets, drunk on one other, oblivious to everyone and everything but each other. Picture the book stalls, the fishermen and the artists with their easels along the Seine. Forget all of the worst aspects of the French capital and its denizens, and instead dwell for a moment on the Paris of everyone’s dreams. Forget that everybody smokes, everywhere, at all times, no matter what. ![]() Forget that entire neighborhoods sometimes smell, suddenly and inexplicably, of rotting garbage and then, as suddenly and as inexplicably, the stench vanishes. Forget that everything, everything, is more expensive in Paris than it has any right to be. Forget the crowds of tourists who flock to the City of Light in the summer, making the city’s winding streets, echoing stone churches and public gardens all but unbearable. Forget the fabled rudeness of the Parisians. ![]()
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