Abstract
During her trips to Turkey, Afghanistan, and Iraq between 1933 and 1940, Annemarie Schwarzenbach created landscape and architectural photographs as well as numerous photographic portraits of the local population, assembling visual material for her photo reports and travel books. This article analyzes the different ways in which Schwarzenbach approached her subjects by examining unpublished photographs in the estate of the Swiss Literary Archive and by considering written sources. The portraits range from fleeting shots seemingly made without the consent of the depicted, portraits modelled on orientalist-type shots, images suggesting a consensus between photographer and photographed, and instances in which she as a photographer makes herself invisible. A development thus becomes visible in Schwarzenbach’s photographic work, which one can describe as a gradual stepping back on the part of the photographer to give the people in front of the camera greater space and more autonomy. (CN; in German)
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