Depht of field - Photographers - Leni Riefenstahl

Before starting to write Leni Riefenstahl I have to make some statements in advance. I have been struggling taking her into my blog for several days. Especially being German I am very well aware of her ambivalent work and influence she had during the Third Reich. After talking about her to one of my fellow students I have decided to write about her anyway but still am not very comfortable about it at all.

Leni Riefenstahl (1902-2003) is probably the most controversial photographer of all times. Starting as dancer and actress she started working as a director in 1932. With her idea and presentation of aesthetics of the arian ideal she very quickly became the visual darling and most influential director for the nazi regime.  She is still famous for her film about the olympic games 1936 in Berlin, glorifying Germany, sportsmanship, beauty and bodies. She was the one defining the picture language of the nazi propaganda.

After WWII she refused to admit any responsibility for the cruelties of the Hitler era and declined having known anything until her death. She always considered herself 'unpolitical and naive'. I personally doubt that very much and suspect it was simply very convenient for her to ignore everything that was going on around her although historic evidences proof she had been witness of several killings of jews and other unwanted subjects. 

In the years 1946 - 1971 the former well established artist found it very difficult to find sponsors for new projects and was involved in several law suits against her and her against magazines. After that period of time she started her career as photographer the age of 69. Her oevre still was the beauty of bodies and nature. She became very successfull and acclaimend for that work and although in Germany still not being perceived uncritical she regained international reputation as an artist again. She worked until almost 100 years old. 

Her photographs and portraits always tell about beauty and by using a telephotolens she simulates closeness to the subjects but is in fact not part of their life or immediate surrounding. 

Leni Riefenstahl