Franz Fiedler (17 February 1885 in Prostějov, Austria-Hungary – 5 February 1956 in Dresden, GDR) was a photographer.
Fiedler was born in Prostějov, near Olomouc in Moravia and was a pupil of Hugo Erfurth. He was regarded as an eccentric during his apprenticeship in Pilsen, and worked in 1905 and again in 1912 with Rudof Dührkoop in Hamburg, and from 1908 to 1911 with Hugo Erfurth in Dresden. At the 1911 world exhibition in Turin he won first prize and had another exhibition in Prague in 1913. He belonged to the circle of Jaroslav Hašek and Egon Erwin Kisch and in 1916 married Erna Hauswald in Dresden where he occupied a studio at Sedanstraße 7.
From 1919, and coincidental with his friendship with Madame d'Ora (Dora Kallmus, of Vienna who was later to move to Paris) he began to work with a 9×12 folding camera and in 1924 became one of the first professional photographers to use a Leica. After expanding his studio in 1925, he took part in the exhibition “Film und Foto” in Stuttgart.
This album of c. 1925 comprised of gelatin silver prints shows a nude woman playing and flirting with a human skeleton. Images are entitled ‘Narre Tod, Mein Spielgesell’ – ‘Fool Death, My Playmate.’
6-1- -15-17-12-12-11-15-1- -13-17-1- -16-17- -9-3-15- -11-17--2-8-5-1- -0-1-12-17-5-15
9--3-5-15- -16-17- -1-15- -16-11-17-6-11-17-14-15- -0--3-10-15- -9-11-10- -1-15-12-14-5-16- -1-16- --1-1-8--3- -9-1- -16-11-14-16-17-14-1
-6-3-14-14-5-18-1- -12--3-15- -3- -9-1- -1-4-3-10-3-1-14- -8-1-15- -5-0-1-1-15-
6-1- -15-17-5-15- -0-1-15-11-8-1- -12-11-17-14- -16-11-17-16-
6-1- -18-1-17-20- -6-17-15-16-1- -13-17-1- -1-1- -15-11-5-16- -1-8-3-5-14- -0-3-10-15- -9-11-10- -1-15-12-14-5-16- -1-16- -6-1- -18-1-17-20- -13-17-1- --1-1-8--3- --3-14-14-1-16-1- -0-1- -9-1- -16-11-14-16-17-14-1-14- -0-3-10-15- -3-14-14-1-16- -12--3-14-1-1- -13-17-1- -1-1-8-3- -9-3-2-2-1--1-16-1- -1-10-1-11-14-1-
6-1- -10-1- -15-23-5-15- -12-23-15- -15-5- -16-17- -23-15- -17-16-5-8-5-15-1- -17-10- -8-11-3-5-25-5-1-8- -24-11-17-14-14-1-1- -11-17- -15-5- -16-17- -16'1-15- -2-11-5-14-1-1- -1-10- -25-11-26-23-10-16- -9-23-5-15- -16-11-10- -26-1-14-10-5-1-14- -12-23-14-23-3-14-23-12-4-1- -1-15-16- -5-10-25-11-9-12-14-1-4-1-10-15-5-24-8-1. 16-17- -12-1-17-20- -1-16-14-1- -26-1-15-11-8-1-1, 1-10- -1-2-2-1-16. 16-17- -23-15- -12-14-5-15- -8-23- -26-1-25-5-15-5-11-10- -26'23-3-5-14- -25-11-9-9-1- -16-17- -8'23-15- -2-23-5-16- -15-1-17-8-1. 6-1- -10-1- -16-1- -14-1-16-5-1-10-15- -12-23-15, 6-1- -10'11-17-24-8-5-1- -14-5-1-10. 2-23-5-15- -25-1- -13-17-1- -16-17- -18-1-17-20. 6-1- -10-1- -2-1-14-23-5-15- -12-8-17-15- -8-1- -12-14-1-9-5-1-14- -12-23-15- -18-1-14-15- -16-11-5- -10-5- -23-17-25-17-10- -1-2-2-11-14-16. 6-1- -10'23-5-9-1- -12-23-15- -8-1-15- -12-17-16-23-5-10-15- -26-1- -9-1-10-16-1-17-15-1-15.
Der Todesking (1990)
Notre Dame, Paris, Édouard Baldus, 1852-1853, Cleveland Museum of Art: Photography
This extraordinary photograph clearly demonstrates Baldus’s genius both as an architectural photographer and as a printer. Centrally placed and filling the entire composition, this great architectural monument is clearly depicted, seemingly removed from time, as there are no interfering elements such as figures or clouds to distract from the building’s majesty. This large, ambitious view captures, almost without rival, the physical and symbolic essence of Notre-Dame. Instead of the traditional frontal view, Baldus photographed the building at an oblique angle in order to articulate the volume of the structure, and he was most conscious of the negative space created by the cathedral’s contour against the unmodulated sky. His salt prints of architectural views, with their breathtaking warm gray tones, are among the most striking achievements of 19th-century photography. Size: Image: 29.5 x 44.7 cm (11 5/8 x 17 5/8 in.); Matted: 50.8 x 61 cm (20 x 24 in.) Medium: salted paper print from wet collodion negative
https://clevelandart.org/art/1991.35
“One particularly bad night, Tom said wearily, “I wish he’d killed us too”. It was a thought we would have on many occasions over the years.”
— Sue Klebold, A Mother’s Reckoning
Great documentary about the crimes of John Ackroyd :
Beginning in the late 1970s, a sinister presence cast a shadow over an isolated part of central Oregon. It lurked in the background, ignored or unnoticed. Women, often vulnerable or marginalized, were disappearing.These are the stories of the ghosts of Highway 20. English subtitles are available too!
Late-war Bf 109s
This is an article from a 1965 TV Guide about Hogan's Heroes and Bob, (and Werner a bit) back when the show was just starting out. I grabbed this off of eBay a while back and finally got around to scanning it!