[alleen in Engels beschikbaar]
The life of photographer, film-maker, artist and world traveller Ed van
der Elsken was closely linked with his work. He did not hide behind the
camera but used it to establish direct contact with the people he liked
to photograph most: eccentric types in big cities, often down-and-outs.
Nevertheless, his photos are not meant as an indictment against the
evils in this world. They should be seen as homage to strong
personalities whose attention he deliberately attracted before quickly
taking their picture. That is why many of the people he photographed,
both in the Netherlands and on his travels abroad, look straight into
the lens.
Ed van der Elsken did not regard photography as an autonomous
phenomenon but as something that only acquires meaning in relation to
other images. He published a large number of photo-books and
experimented with slide projections. The books are characterised by his
direct, personal treatment of image, text and layout. All these aspects
bear his hallmark: as well as being responsible for the photography he
also had a say in the text and graphic design. Moreover, his
photo-books demonstrate the style of prints that he developed, with
pronounced contrasts, dark skies and a strong emphasis on relevant
areas.
Van der Elsken's approach to photography is echoed in the way he
tackled his films. Here, too, virtually everything was in his hands -
production, direction, camera, editing and commentary. He started
filming in 1955, and it is from that time that an interaction between
the two activities can be observed. Because of the way the images are
combined, and because of the story and structure, the photo-books have
a markedly filmic character. Conversely, the unconventional editing of
his films often gives them the character of a photo-book, with scenes
consisting of double pages which when turned unexpectedly reveal
surprising new images. This interaction is furthermore demonstrated by
the fact that in his films he often picks up the thread of a story
which he had previously photographed, and vice versa.
Ed van der Elsken's life and work fall into three periods. His Paris
years (1950-1954) are linked with his first wife, Ata Kando, and with
his first photo-book, Love on the Left Bank, which was published in
1956 and attracted international attention. The second period
(1955-1970) concentrates on Amsterdam and the many journeys he made
alone or with his second wife, Gerda van der Veen. His most important
books of this period include Bagara (1958), Jazz (1959) and Sweet Life
(1966). The third period (1971-1990) is closely associated with Edam,
his last domicile, and with the rural life he shared with Anneke van
der Elsken-Hilhorst. During these years he made a large number of
travel reportages for Avenue magazine (1967-1979). He also took
frequent trips to Japan. Among his most important publications of this
period are his first photo-book in colour, Eye Love You (1977),
Amsterdam! Old photos 1947-1970 (1979), Adventure in the Country
(1980), The Discovery of Japan (1988) and the posthumously published
Once Upon A Time (1991).
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