![]() ![]() I was shooting big name celebrities, alongside some of the top shooters in the business, for some of the largest agencies in the world. I did it because the one thing that first job gave me was access, and access is key. “When I started this career, I worked extremely hard for very little-running around the city, taking whatever assignment I could. This most definitely entails shooting the not so glamorous assignments, putting in long, arduous hours, and paying one’s dues. There must be a love of photography and a willingness to make it work no matter what. “While the business has changed, I believe the way to break into it hasn’t: hustle, access, professionalism, being personable, punctual, and prepared, building personal relationships, knowledge of the equipment and subject matter, and above all, determination. Today, they would most likely have an Instagram page filled with selfies. Then, magazines boasted $20,000 payouts for a paparazzi pic of Brad Pitt and Jennifer Aniston. “Celebrity work wasn’t something I sought out, but fell into and discovered I enjoyed. “I was determined to move to New York City to make it as a photographer,” Sussman says of her early career. She also shoots up-close documentary photography, creating series on politically relevant issues like fracking and Occupy Wall Street. Sussman’s photography interests extend beyond stars, though. In addition to working for various other agencies, she’s shot New York Fashion Week many times, as well as a wide range of events in the entertainment world. New York-based Amy Sussman has been working as a photographer for twelve years-and seven of those were as a top entertainment photographer for Getty Images. Here’s how to land those big-name clients-and how to keep your cool once you’ve got the job. They shared some advice for photographers looking to work with celebrities. So what if you have to sit down with a celebrity and try to capture their personality in a photo? How do you pay attention and grab a good shot at an A-list event without getting starstruck and feeling intimidated? And how do you even get gigs like those in the first place? We asked a few photographers with experience to weigh in.Īmy Sussman, Beowulf Sheehan, Roger Askew, Bonnie Biess, and Kawai Matthews are all used to shooting well-known subjects. He was concerned about how he looked and his public persona.”Įgon Hanfstaengl, the son of Hitler’s foreign press officer, said in a documentary, “Fatal attraction of Hitler”: “He had that ability which is needed to make people stop thinking critically and just emote”.Shooting portraits is hard even when your subjects aren’t famous. Hitler was a very modern politician in that way. He used Hoffmann as a sounding board but never intended the images to be published. Then he’d look at them and say “no, that looks silly” or “I’m never doing that again”. He experimented with his own image and asked Hoffmann to take photographs for him to review. He was a showman and rehearsed his gestures to get a particular reaction from his audience. These pictures give an important insight into how he practiced. When you listen to his speeches now, he sounds like a ranting, raving maniac, but we know that it came across in a very persuasive way. He was an absolutely spellbinding public speaker and these pictures show that it was something he worked very hard on. We have this image now of Hitler almost as a buffoon, but he had a lot of charisma and his speeches made people sincerely believe he would lead them back to greatness. “It makes perfect sense that he would be doing this. Roger Moorhouse, a historian who wrote the introduction to the photographer’s book, said: Hoffmann, who introduced Hitler to his then-studio assistant Eva Braun, survived the war and spent four years in prison for Nazi profiteering. They were published in his memoir, “Hitler was my friend”, which came out in 1955. The photos were reportedly taken in 1925, soon after Hitler was released from a nine-month stint in prison during which he dictated his autobiography, Mein Kampf.Īfter seeing the photographs, Hitler requested Hoffmann to destroy the negatives, but he didn’t obey. Once he saw the pictures, he would decide whether to incorporate the various gestures and poses into his speeches and appearances. They capture the meticulous training Hitler undertook to perfect his famous speeches and give a rare insight into his vanity and controlling personality. The album, features black and white images of the Nazi leader in a series of poses, using expressive face and hand gestures, which he would practice and review before addressing the German public. Hitler rehearsing his public speech in front of the mirror.Īdolf Hitler, leader of the Nazi Party, strikes a pose for photographer Heinrich Hoffmann whilst rehearsing and listening to his recorded speech. ![]()
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