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Picture Stories: the Rise of the Photoessay in the Weimar Republic

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Picture Stories: the Rise of the Photoessay in the Weimar Republic INTERNATIONAL JOURNAL FOR HISTORY, CULTURE AND MODERNITY www.history-culture-modernity.org Published by: Uopen Journals Copyright: © The Author(s). Content is licensed under a Creative Commons Attribution 4.0 International Licence eISSN: 2213-0624 Picture Stories: the Rise of the Photoessay in the Weimar Republic Anton Holzer Translated by Elisabeth Lauffer HCM 6 (1): 1–39 DOI: 10.18352/hcm.520 Abstract Between the mid-1920s and the early 1930s German photojournalism experienced a profound, far-reaching upheaval. Up until this time, the illustrated mass media had favoured the reproduction of single photos, but during this brief period the photo-essay rose to prominence. Photographs and texts were integrated into a new, complex narrative unity: photo- reportage. This article aims to reconstruct the historical conditions under which modern photo-reportage arose during the Weimar Republic. It will also revise certain accepted judgements about the history of photojournal- ism between the world wars. The development of modern photojournalism has until now been identified almost exclusively with the achievements of individual protagonists, mainly prominent photographers. Although these individuals played an important role in the production process of photo- reportage, they were rarely consulted regarding editorial questions and layout. In order to better understand the economic development of photo- reportage and its growth as a medium, it is necessary to examine the edito- rial work being done behind the scenes at the magazines and newspapers of the time. This article will therefore focus more on the development of the media and economic macrostructures at play in the emergence and growth of photo-reportage, and less on individual photographers’ contributions and photojournalistic output. It ultimately shows that the consolidation of modern photo-reportage was the result of closely connected media-related and social developments, commercial strategies and aesthetic decisions that went far beyond the agency of individuals. HCM 2018, VOL. 6, No. 1 1 © ANTON HOLZER, 2018 | DOI: 10.18352/hcm.520 Downloaded from Brill.com10/10/2021 10:32:43AM This is an open access chapter distributed under the terms of the CC BY-NC-ND 4.0 license. via free access HOLZER Keywords: media history, photo-essay, photography, photojournalism, photo-reportage, visual history, Weimar Germany Introduction The twentieth century has often been termed the century of images in a nod to the central role film and photography came to play as forms of mass media. Around 1930, novel designs for the visualization of news items were established, and with them new ways to connect images and text. The significance of these innovations extended far beyond photo- reportage. News coverage, which had long been text-heavy in daily news publications, underwent a sudden and radical expansion: photog- raphy was no longer employed as an illustrative accompaniment to the text, but as a key narrative tool. The analysis of photo-reportage in the Weimar Republic provides a close-up account of this unprecedented interconnection between image and text, and how it evolved in practice. During the Weimar Republic, the illustrated press was the central form of visual mass media, aside from film, with enormous reach, par- ticularly in urban populations. The 1920s saw exponential growth in the circulation of illustrated newspapers. In 1929, the Berliner Illustrirte Zeitung, the leading publication of the day, had a weekly circulation of over 1.9 million copies, breaking international records.1 As part of this explosion in circulation numbers between the mid-1920s and the early 1930s, the relationship between text and image in German photojournalism underwent a profound, far-reaching transformation. Up until this time, the illustrated mass media had favoured the repro- duction of single photos, but during this brief period the photo-essay rose to prominence. Photographs and copy were integrated into a new, complex narrative unity: photo-reportage. Around 1930, this innovative genre blending text and image was exceedingly popular in Germany. After 1933, it would also spread to the English-speaking world.2 The roots of this narrative form of photojournalism extend back to the turn of the century. Starting in the mid-1920s, however, photo-reportage became almost ubiquitous as the new, modern, meticulously designed graphic media format in the German illustrated press. This upheaval in the media and the emergence of new visual narrative forms were also reflected in the public image of press photographers. Over the course of the 1920s, a select group of photojournalists managed to shed their HCM 2018, VOL. 6, NO. 1 2 Downloaded from Brill.com10/10/2021 10:32:43AM via free access PICTURE STORIES role as anonymous shift workers in the media industry and step more confidently into the public light. This did not mean, however, that many were free to determine how their photos were edited in the newspapers. In late 1920, the Frankfurt weekly Das illustrierte Blatt became the first newspaper ever to feature on its front page an image of a press photographer at work (Fig. 1).3 The photographer had positioned himself with his camera on the roof of a Berlin streetcar, capturing the scene below from his elevated vantage point. The photograph is unusual, because until that point, newspaper photographers had rarely been shown in large-format pictures; when the first photojournalists entered the public arena in the 1890s, it was the photographs they had taken rather than those they appeared in that caused a stir. Until well into the 1920s (and in some instances, far longer), press photogra- phers occupied the lowest social rung of the media industry. Few were regularly employed; their images were often printed anonymously; their professional reputation was humble. In the accompanying text inside Das illustrierte Blatt, the protagonist is introduced in a decid- edly pre-war style, namely as ‘illustrations photographer’, and not as ‘press photographer’ or ‘photojournalist’. The modern-day news pho- tographer, the article stresses, is forever on the move, in order to catch images of breaking events. It does not yet mention, however, that in addition to individual pictures used primarily to illustrate written news pieces, the photographer also produces photo series, essays or even reportages. Around 1920, the image of the press photographer was not much different than it had been before the war. Within ten years, this image would change fundamentally. By 1930, a few individual press photog- raphers had attained star status, their names appearing on prominent dis- play alongside those of the authors. The best-known among them were now no longer limited to delivering single images for solely illustra- tive use; instead, they had also begun submitting photo series that were assembled into photo-essays, a process demanding considerable efforts in graphic design. Nevertheless, this remarkable symbolic elevation of a select cadre of photographers did not translate into a corresponding growth in editorial autonomy. Within the complex, stratified produc- tion process of photojournalism, the role of the photographer remained relatively humble. Understanding the photojournalistic development toward photo-reportage cannot be accomplished by studying individual HCM 2018, VOL. 6, NO. 1 Downloaded from Brill.com10/10/20213 10:32:43AM via free access HOLZER Figure 1 ‘Der Illustrations-Photograph’ [The Illustration Photographer], Das Illustrierte Blatt 53 (28 December 1920), front cover, photographer unknown. photographers and their work alone. Instead, the media system of the illustrated press must be examined in its entirety. Let us begin with a short summary of the defining factors behind the development of modern photo-reportage. First, the number of photo HCM 2018, VOL. 6, NO. 1 4 Downloaded from Brill.com10/10/2021 10:32:43AM via free access PICTURE STORIES series grew markedly, while that of individual photographs diminished. These photo series followed increasingly complex narrative structures, showing a close coupling of images and text. Photo-reportage also bor- rowed several narrative elements from film (e.g., close-ups, zooms, fade- ins and fade-outs etc.). Moreover, the symbolic role of a few individual photographers was clearly elevated: photographers such as Wolfgang Weber, Felix H. Man, Martin Munkácsi and others were established as star photographers by the major media houses. Furthermore, the devel- opment of photo-reportage was the result of a complex team effort, the collaboration of numerous specialists, including photographers, authors, executive and photo editors, and graphic designers. Finally, around 1930, innovative German photo agencies such as Dephot, Weltrundschau and Mauritius began to supply the press not only with isolated photographs, but also with entire photo-reportages. The reportages provided flexible narrative models that editors could rearrange and that could otherwise be reused over time and/or regionally. The boom in German photo-reportage, which began between 1927 and 1929 and reached its height around 1930, ended abruptly in 1933 with the Nazi accession to power. While photo-reportages continued to appear in newspapers, this watershed had profound consequences for photojournalism. Many photographers, journalists, photo editors and newspaper publishers of Jewish origin were forced into exile after 1933. The emigrants’ background in journalism was welcomed and advanced, particularly in
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