Summary of Luca Crippa & Maurizio Onnis's The Auschwitz Photographer , livre ebook

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22 pages

English

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Please note: This is a companion version & not the original book.
Sample Book Insights:
#1 The photographer, Tadek Brasse, was tasked with taking pictures of only those prisoners who looked presentable. He did not want beaten-up faces, black eyes, or broken bones. He did not want suffering prisoners.
#2 The kapo of the photography studio, Franz Maltz, entered the room. He was a German, and he did not understand the first thing about photography. He could do nothing beyond producing a few copies in the darkroom.
#3 The two kapos’ hilarity increased the more the old man cried out in pain. They didn’t stop to catch their breath for several minutes. Maltz left them to joke with the other prisoners, knowing full well that they didn’t have money to spend.
#4 On the day they sent him to the Political Department, Brasse noticed that four other prisoners were also looking for the building. They were all from different countries and had been photographers. They were sent to different rooms, and not allowed to talk to one another.

Sujets

History

Religion

Judaism

Philosophie et théologie

Informations

Publié par	Everest Media LLC
Date de parution	31 juillet 2022
Nombre de lectures	0
EAN13	9798822563094
Langue	English
Poids de l'ouvrage	1 Mo

Informations légales : prix de location à la page 0,0200€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

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Insights on Luca Crippa & Maurizio Onnis's The Auschwitz Photographer
Contents Insights from Chapter 1 Insights from Chapter 2 Insights from Chapter 3
Insights from Chapter 1

#1

The photographer, Tadek Brasse, was tasked with taking pictures of only those prisoners who looked presentable. He did not want beaten-up faces, black eyes, or broken bones. He did not want suffering prisoners.

#2

The kapo of the photography studio, Franz Maltz, entered the room. He was a German, and he did not understand the first thing about photography. He could do nothing beyond producing a few copies in the darkroom.

#3

The two kapos’ hilarity increased the more the old man cried out in pain. They didn’t stop to catch their breath for several minutes. Maltz left them to joke with the other prisoners, knowing full well that they didn’t have money to spend.

#4

On the day they sent him to the Political Department, Brasse noticed that four other prisoners were also looking for the building. They were all from different countries and had been photographers. They were sent to different rooms, and not allowed to talk to one another.

#5

The German officer asked Brasse many questions about his photography skills. He was not lying when he said he was good, because he was. The Oberscharführer was pleased by what he heard, and gave him orders.

#6

The Erkennungsdienst was the camp’s identification service. It took photos of the prisoners and archived them. Brasse was assigned to this service, and he began crying with joy.

#7

The kommando members were always hungry, and they would eat their breakfast together in the darkroom. They would then get to work printing photographs taken the previous day.

#8

During the processing of the negatives, Brasse made sure that the prisoners’ dignity was kept intact. He would spend hours correcting shadows and softening angular features.

#9

The photographer, Brasse, took pictures of the prisoners as they waited in line. Some of the prisoners were from his hometown, and he knew them well. They were all Jews, and he knew they would be dead soon.

#10

Brasse asked a kapo to kill the three Jews humanely. He wasn’t asking for anything in return, just that they not be harmed. He was a rational individual who respected and loved life, but he had asked a murderer to kill.

#11

The request to kill someone wasn’t always a sin. It was sometimes a mercy. For example, Brasse asked Ruski to kill the three Jews from his town, but he didn’t have to do it himself.

#12

The day that Brasse photographed the men from Żywiec seemed never-ending. The photographer rushed outside and summoned the Identification Service kommando. The men were soon ready to get down to work, but found themselves alone in the Erkennungsdienst.

#13

The photographer, Brasse, took pictures of the prisoners. He was amazed to find that they were well-dressed, even elegant, despite having just arrived at the camp. The camp had not yet dehumanized them.

#14

The photographer, Brasse, was given the job of photographing the prisoners. He was told to photograph each and every one of the two hundred or so prisoners from the night convoy. By seven in the morning, the kommando had photographed and registered each and every one of them.

#15

Wilhelm Brasse, the photographer, was afraid. He had good reason to be. He was a little king in Block 26, and he ran the studio and the darkroom expertly.