What chiefly holds us is that these photographs exist, that someone took them as a sort of diversion, a hobby. Jablonski is able to reverse the usual use of color in historical documentaries. In Photographer it is the past that is in color and the present in black and white. This revers al also underscores the reversal of human values in the two time planes. The ghastly effect is to certify that those past events real ly did happen on the same planet.
Some music is used, mostly with discretion.
To hear a crowd buzzing under a still photograph of that crowd is to hear artifice. We get some shots of Genewein himself working at his desk and of his comfy Lodz apartment. Oskar Schindler isn't mentioned in the picture, but presumably Genewein knew him, or knew of him. In any case, Photographer made me take another look at the opening sequences of Schindler's List in the Lodz ghetto. My admiration for Spielberg's film, alre ady high, rose.