Eduard van der Elsken (10 March 1925 – 28 December 1990) was a Dutch photographer and filmmaker. His imagery provides quotidian, intimate and autobiographic perspectives on the European zeitgeist spanning the period of the Second World War into the nineteen-seventies in the realms of love, sex, art, music (particularly jazz), and alternative culture. He described his camera as 'infatuated', and said: "I'm not a journalist, an objective reporter, I'm a man with likes and dislikes".Aletti, Vince. Cafe noir (biography). rticle. Biography''Artforum International''. v. 38 no7, Mar. 2000, pp. 98-103, 105-7. His style is subjective and emphases the seer over the seen; a photographic equivalent of first-person speech.

Early life

Ed van der Elsken was born on March 10, 1925, in Amsterdam in the Netherlands. In 1937, wanting to become a sculptor, he learned stone-cutting at Amsterdam's Van Tetterode Steenhouwerij. After completing preliminary studies at the Instituut voor Kunstnijverheidsonderwijs, the predecessor of the Rietveld Academy (dir. Mart Stam), he enrolled (in 1944) in the professional sculpture program, which he abandoned to escape Nazi forced labour. That year, after the Battle of Arnhem he was stationed in a mine-disposal unit where he was first shown '' Picture Post'' by British soldiers. Later, in 1947, he discovered American sensationalist photographer Weegee's ''Naked City''. These encounters inspired his interest in photography and that year he took work in photo sales and attempted a correspondence course with the Fotovakschool in Den Haag, failing the final examination. He subsequently gained membership of the GKfThe GKf is a photographers association that was founded in 1945 by Cas Oorthuys, Emmy Andriesse, Eva Besnyö and . Other prominent photographers soon joined, all of whom played an important role in the resistance movement during the war. What united these photographers was not only their artistic vision, but a mutual social engagement (photographer's section of the Dutch federation of practitioners of the applied arts).

Paris

At the suggestion of Dutch photographer Emmy Andriesse (1914–1953) he moved in 1950 to Paris. He was employed in the darkrooms of the Magnum photography agency, printing for Henri Cartier-Bresson (who was impressed with his street photography), Robert Capa and Ernst Haas. There he met (and in 1954 married) fellow photographer Ata KandóAta Kando (born Budapest, 1913), the daughter of Hungarian parents, writer Margit G. Beke and Professor Imre Görög. She calls herself 'Ata' from her first name Etelka, and Kando is the name of her first husband, the painter Gyula Kando, with whom she left for Paris in 1932. Her commercial photographic career began as an assistant at Magnum immediately after the War. Later she photographed for Paris fashion houses and continued to do so after accompanying Van der Elsken to the Netherlands. (b. 1913 Budapest, Hungary), twelve years his senior, living with her three children among the 'ruffians' and bohemians of Paris from 1950 to 1954. Ata was a principled documentarian whose pictures taken in the forests of the Amazon among the Piraoa and

Yekuana The Ye'kuana, also called Ye'kwana, Ye'Kuana, Yekuana, Yequana, Yecuana, Dekuana, Maquiritare, Makiritare, So'to or Maiongong, are a Cariban-speaking tropical rain-forest tribe who live in the Caura River and Orinoco River regions of Venezuela ...

tribes are her best known,see her illustrations in ''Soundmaking, magic and personality'' by Jacqueline van Ommeren. (English translation of ''Bevrijd de dommen van hun domheid''). Amsterdam: Rodopi, 1979. but her more poetic leanings, exemplified in her ''Droom in het Woud'' (''Dream in the Wood'', photographed 1954 in Switzerland and Austria, published 1957) must also have been an influence on Van der Elsken and his decision to move from newspaper reportage to aim to become a magazine photojournalist. Consequently, much of his work documented his own energetic and eccentric life experience

subjectively Subjectivity in a philosophical context has to do with a lack of objective reality. Subjectivity has been given various and ambiguous definitions by differing sources as it is not often the focal point of philosophical discourse.Bykova, Marina F ...

, presaging the work of

Larry Clark Lawrence Donald Clark (born January 19, 1943) is an American film director, photographer, writer and film producer who is best known for his controversial teen film ''Kids'' (1995) and his photography book ''Tulsa'' (1971). His work focuses prim ...

, Nan Goldin or

Wolfgang Tillmans Wolfgang Tillmans (born 16 August 1968) is a German photographer. His diverse body of work is distinguished by observation of his surroundings and an ongoing investigation of the photographic medium’s foundations. Tillmans was the first photog ...

. Thus his adopted family and their lives became the subjects of his photographs along with the people he met, during this Paris period, including Edward SteichenSteichen appears in a photo Van der Elsken photo took in a Paris cafe in 1953 in ''Ed van der Elsken: Parijs Foto's—1950–1954''. Edited with text by Anthon Beeke. Amsterdam, Bert Bakker, 1981. "After leaving Sweden, Steichen journeyed to Amsterdam. Following the success of the Stockholm meeting, similar gatherings were held in The Hague and in Amsterdam. Eva Besnyo (1910-2003), a Dutch photographer of Hungarian birth attended the meeting in Amsterdam. She remembers a large assembly at the studio of photographer Paul Huf (1924-2002). The meeting used the 'Stockholm protocol'; that is, photographers brought images, Steichen explained his plans for an exhibition on mankind and looked at photographs. Besides Besnyo, photographers present included Cas Oorthuys, Emmy Andriesse, Carl Blazer, Maria Austria, Ed van der Elsken, Henk Jonker and several others. Besnyo claims that most photographers did not dare bring too many of their photographs. However, photographer Ed van der Elsken (1925- 1990), whom she identified as the best of them all, brought practically his entire oeuvre. Steichen spent a large part of the evening looking at Van der Elsken's images, encouraging and advising the young photographer in his work. Elsken went on to enjoy a successful career; publishing several books of his work. Six Dutch photographers were included in The Family of Man exhibition, all of whom had attended the meeting at Paul Huf's studio." from Kristen Gresh (2005) The European roots of The Family of Man, History of Photography, 29:4, 331-343, DOI: 10.1080/03087298.2005.10442815 who used eighteen of the photographer's Saint-Germain-des-Prés images in a survey show (1953) ''Postwar European Photography'' and another in " The Family of Man". The latter photograph featured in the 'adult play' section of the show, and is a chiaroscuro, tight frame cropping fragments of the faces of two woman and a man who eyes others at an opening or event over his cigarette, and a male hand (possibly v. d. Elsken's) thrusting a wine glass into the foreground. It is likely his introduction to Steichen (who appears in the photographer's ''Parijs! : 1950-1954'') was via

Robert Frank Robert Frank (November 9, 1924 – September 9, 2019) was a Swiss photographer and documentary filmmaker, who became an American binational. His most notable work, the 1958 book titled ''The Americans'', earned Frank comparisons to a modern-da ...

who scouted European exhibitors for the MoMA show. Another encounter was with Vali Myers (1930–2003) who became the haunting kohl-eyed heroine of his '' roman à clef'' photo-novel ''Een liefdesgeschiedenis in Saint-Germain-des-Prés'' (1956; its English-language version was titled ''Love on the left bank'').

Love on the Left Bank

"''Een liefdesgeschiedenis in Saint-Germain-des-Prés''" ('Love on the left bank') published in 1956, and designed by Dutch graphic designer, sculptor and typographer

Jurriaan Schrofer Jurriaan Willem Schrofer (; 15 April 1926 – 1 July 1990) was a Dutch sculptor, graphic designer, type designer, and art school educator.

(1926–1990), is recognised as a particular contribution to the

photobook A photo book or photobook is a book in which photographs make a significant contribution to the overall content. A photo book is related to and also often used as a coffee table book. Early Early photo books are characterized by their use of ...

; the ''beeldroman'' (photonovel), an essentially self-reflexive European genre. Van der Elsken initially put together a dummy of his text and images himself, but could not attract the interest of a publishing house. However, he succeeded with the renowned British magazine ''Picture Post'', which devoted a four-part series in 1954 to the imagery entitled ''Why did Roberto leave Paris?''. The editors felt it necessary to inform the reader that these were pictures not from a movie, but a "real-life story about people who do exist". The love interest in this unsophisticated tale is the Mexican boy Manuel (''Picture Post'' used his real name, Robert). Manuel tells how in Paris he fell in love with the beautiful Ann ( Vali Myers), who hangs out in bars in Saint Germain des Prés and dances wildly in the jazz cellars. However, it is unrequited love; for Ann, always surrounded by men, shows no interest in Manuel. After learning of her lesbian relationship with her girlfriend Geri, Manuel returns disappointed back to Mexico. At home, he receives a letter from Ann telling him that she and Geri have a venereal disease and that they suspect he also has it (''Picture Post'' censored mention of venereal disease, substituting a 'sanitised' ending, against Van der Elsken's wishes,Suermondt, R. (2000) ''FOTO'', January/February 2000, pp 20-25 in which Roberto goes back to Mexico because he missed his mother's cooking!). She comforts him with the thought that he really belongs to the "gang". Partly autobiographical and partly fictional (Van der Elsken was attracted to the extravagant Vali Myers) a number of elements - such as Manuel's imprisonment - are drawn from accounts of the other bohemians. The book was accepted for publication thanks to the innovative layout of designer Jurriaan Schrofer, who later also designed Van der Elsken's ''Bagara'' (1958).He also designed Ata Kandó's and Violette Cornelius' untitled book of photographs of Hungarian refugees at the Austrian-Hungarian border fleeing the Russian invasion of Hungary in 1956, produced for the benefit of Hungarian children. Like his contemporary Van der Elsken he was a member of the Schrofer GKf, the Association of Practitioners of Applied Arts. Inspired by the medium of film Schrofer and Van der Elsken conceived a layout applying all sorts of cinematic elements, such as the flashback; the negative outcome of the love story is shown in the photo and the text on the first page, and what follows is a long flashback in which Manuel tells in

first person First person or first-person may refer to: * First person (ethnic), indigenous peoples, usually used in the plural * First person, a grammatical person * First person, a gender-neutral, marital-neutral term for titles such as first lady and first ...

, in the text and

captions Caption may refer to: *Caption (text), explanatory text about specific published photos and articles *An element of comics where words appear in a separate box, see Glossary of comics terminology#Caption *Caption (comics convention), a small pres ...

, of his experiences in Saint Germain des Prés. At the end of the book the first picture with the three protagonists reappears, with

dramatic irony Irony (), in its broadest sense, is the juxtaposition of what on the surface appears to be the case and what is actually the case or to be expected; it is an important rhetorical device and literary technique. Irony can be categorized into ...

. Combinations of close-ups, medium shots with wide or long are used in the layout as Schrofer combines large, medium-sized and small images and also square and 3:2 format pictures (Van der Elsken photographed with Nikon and

Leica Leica Camera AG () is a German company that manufactures cameras, optical lenses, photographic lenses, binoculars, rifle scopes and microscopes. The company was founded by Ernst Leitz in 1869 (Ernst Leitz Wetzlar), in Wetzlar, Germany. ...

35mm and a Rolleicord 6×6). Close-ups of the faces of Ann and Manuel were blown up to the breadth of a spread, while small photos are aligned in film strips like contact prints on a page. Photographs of the same act, like a boy and girl embracing each other in a bar, are repeated and interspersed. At the end of the book uninterrupted, mostly

full-bleed In printing, bleed is printing that goes beyond the edge of where the sheet will be trimmed. In other words, the bleed is the area to be trimmed off. The bleed is the part on the side of a document that gives the printer a small amount of space ...

, pictures are assembled into a dream sequence. Manuel, imprisoned for robbery, thinks only of Ann. In his first dream she poses, lost in thought, against a weathered wall, on which are the white graffiti 'rêve' (cropped from ''grève'': 'Strike!'). On the following pages she appears to Manuel as pin-up and mysterious

femme fatale A ''femme fatale'' ( or ; ), sometimes called a maneater or vamp, is a stock character of a mysterious, beautiful, and seductive woman whose charms ensnare her lovers, often leading them into compromising, deadly traps. She is an archetype of ...

, a narcissist who can love only her own reflection. Then there are five pages of self-portraits by Ann/Myers; surrealistic charcoal drawings of her emaciated, opium-addicted body and compulsive self-destruction. Manuel's nightmare reaches a dramatic climax in the photo where Ann, her pale eyes closed, self-poisoned, floats in a steamy mirror, followed by a black blank page. The book was the first of some twenty Van der Elsken publications. It quickly sold out in Europe and the UK, and its filmic qualities led to Van der Elsken's subsequent experiments with, and parallel career in, cinema. Amongst its pages can be found the faces not only of artists but also of nascent Lettrist International members and Situationists at the cafe Chez Moineau. Twenty years later, the heroine, Vali Myers, re-appeared in his film ''Death in the Port Jackson Hotel'' (1972, 36 min. 16mm colour).

Amsterdam and international travel

Upon moving back to Amsterdam in 1955, he recorded members of the Dutch avant garde COBRA, including

Karel Appel Christiaan Karel Appel (; 25 April 1921 – 3 May 2006) was a Dutch painter, sculptor, and poet. He started painting at the age of fourteen and studied at the Rijksakademie in Amsterdam in the 1940s. He was one of the founders of the avant-gard ...

whom he later filmed (''Karel Appel, componist korte versie'', 1961, 4 min. 16 mm black & white). He separated from and divorced Ata Kando. He then traveled extensively, to Bagara 1957 (now in Central African Republic), and to Tokyo and Hong Kong in 1959 to 1960, with Gerda van der Veen (1935–2006) also a photographer, whom he married (25 September 1957). He filmed for ''Welkom In Het Leven, Lieve Kleine'' the homebirth of their second child, Daan, in the old-fashioned, working-class Nieuwmarkt in Amsterdam. This is an early example of cinema production with a small shoulder-mounted camera synced with sound. He continued in motion imagery his subjective stance in which the camera operator interacts live from behind the camera with subject, obviating the need for the intrusion of an interviewer or presenter, and recording the immediate experience. His style was immediately influential on the television of Hans Keller, and others.

Later life

From 1971 he lived with his third wife, photographer

Anneke Hilhorst Anneke is a Dutch language, Dutch and Low German language, Low German female diminutive given name, meaning ''little Anna'' or ''little Anne'', i.e., ''Annie'', an alternate pet or endearing form of Anna (name), Anna. The given name and later surna ...

(1949 - ), in the country near Edam, where their son, John, was born. During this period he continued to travel and worked prodigiously between film and photography, producing a further 14 books and broadcasting more than 20 films with the collaboration and assistance of Hillhorst. His last film was ''Bye'' (1990, 1 hour 48 min, video, 16 mm film, colour and black & white) a characteristically courageous autobiographical response to his terminal prostate cancer. He died on 28 December 1990 in Edam in the Netherlands.

Books

*''Een liefdesgeschiedenis in Saint Germain des Prés'' (1956) *'' Bagara'' (1958) *''Jazz'' (1959) *''Dans Theater'' (1960) *''de Jong & van Dam NV 1912-1962'' (1962) *''Sweet life'' (1966) *''Wereldreis in foto's vier delen'' (1967–1968) *''Eye Love you'' (1977) *''Zomaar een sloot ergens bij Edam'' (1977) *''Hallo!'' (1978) *''Amsterdam! Oude foto's 1947-1970'' (1979) *''Avonturen op het land'' (1980) *''Parijs! Foto's 1950-1954'' (1981) *''Are you famous?'' (1985) *''San-jeruman-de-pure no koi'' (1986) *''Jong Nederland 'Adorabele rotzakken (1987) *''Japan 1959-1960'' (1987) *''De ontdekking van Japan'' (1988) *'' Natlab'' (1989) *''Once upon a time'' (1991) *''Hong Kong'' (1997) *''Hit & Run. Ed van der Elsken fotografeert het Philips NatLab'' (2014)

Films

* 1955: Documentary on the Centre Européen de Recherche Nucléaire in Geneva, VPRO (with Jan Vrijman) * late 1950s: Traffic Safety Film, VPRO (with Jan Vrijman) * late 1950s: Film about Van Gelders Paper Factory (badly underexposed). VPRO (with Jan Vrijman) * 1958: Safari Film commissioned by safari leader Menri Quintard (lost) * 1959-60: Travelogues, AVRO (lost) * 1960: ''Rond De Wereld Met Ed van der Elsken'' (Around the world with Ed van der Elsken) Year produced: ca. 1960, Camera: Ed van der Elsken, Gerda van der Elsken-van der Veen, Sound: sound track missing. Technical assistant: Gerda van der Elsken-van der Veen 16mm. black-white 38’ 18″ * 1960 ''Handen'' (Hands), Broadcast: February 6. 1960, in Mensen kijken, VPRO, 16mm, black-white, Sound: perfotape, 4’ 43″ * 1960 ''Homemovies'' 16mm, black-white, silent 4’ 00″ * 1961 ''Van Varen'' (About sailing) Commissioned by: Koninklijke Nederlandse Reders Vereniging (Royal Dutch Shipowners' Association) Technical assistant: Gerda van der Elsken-van der Veen, 16mm, black-white, Sound: optical, 19’ 55″ * 1961 ''De Appel-Iep'' (Appel elm) Camera: Ed van der Elsken, Koen Wessing, Technical assistants: Johan van der Keuken. Gerda van der Elsken-van der Veen, Koen Wessing, 16mm, black-white, Sound: optical, 29’ 16″ * 1961 ''Bewogen Beweging'' (Moving motion) Broadcast: shown in the Stedelijk Museum, Amsterdam 16mm, black-white, Sound: silent, 4’ 06″ * 1961 ''Karel Appel-Componist'' (Karei Appel, composer) Broadcast: shown in the Stedelijk Museum. Amsterdam, Technical assistant: Frits Weiland, 16mm, black-white, Sound: optical, 16’ 25″ * 1962 ''Dylaby'', Broadcast: shown in the Stedelijk Museum, Amsterdam, 16mm, black-white, Sound: optical 10’ 00″ * 1963: ''Welkom In Het Leven, Lieve Kleine'' (Welcome to life, dear little one) Broadcast: January 15, 1964 and January 24, 1982, VPRO, Technical assistant: Gerda van der Elsken-van der Veen, 16mm. black-white, Sound: perfotape, partially post-synchronised, 36’ 00″ * 1963 ''Lieverdjes'' (little darlings) 16mm, black-white, Sound: silent, 10’ 58″ * 1963: ''Grenzen Van Het Leven'' (Margins of life). 16mm, black-white, Sound: silent. 28’ 16″ * 1963: ''Spinoza'', 16mm, black-white. Sound: silent. 40’ 38″ * 1965: ''Waterlooplein'', 16mm, black-white. Sound: perfotape. 12’ 11″ * 1965: ''Afbraakwaterlooplein'' 1 (Waterlooplein demolition 1). 35mm, black-white. Sound: silent. 5’ 45″ * 1965: ''Afbraakwaterlooplein 2'' (Waterlooplein demolition 2). 16mm and 35mm, black-white. Sound: silent. 2’ 36″ * 1965: ''Afbraakwaterloopleincrazyscope''. 16mm and 35mm, black-white. Sound: silent. 13’ 59″ * 1965: ''Afbraakenopbouw'' (Demolition and construction).35mm. black-white. Sound: silent. 5’ 45″ * 1965: ''Fietsen'' (Cycling) 16mm. black-white. Sound: silent. 10’ 35″Stoffers, M. (2012). Cycling as heritage: Representing the history of cycling in the Netherlands. The Journal of Transport History, 33(1), 92-114. * 1965: ''Trots Israel'' (Proud Israel). Commissioned by: Willem Sandberg. 16mm, black-white. Sound: optical. 16’ 33″ * 1965: ''Oberhausenxie Westdeutsche Kurzfilmtage.'' Broadcast: in Film '65, KRO. 16mm, black-white. Sound: silent. 7’ 48″ * 1965: ''Stiefbeen En Zoon'' ("Steptoe and Son"). 35mm, black-white. Sound: silent. 2’ 48″ * 1965: ''De Dokwerker'' (The dockworker). 35mm, black-white. Sound: silent. 0’ 44″ * 1967: ''Het Waterlooplein Verdwijnt'' (Waterlooplein disappears!) Broadcast: March B. 1967 in: Uit Bellevue. VARA. Sound recording: Gerda van der Elsken-van der Veen. 16mm. black-white. Sound: perfotape. 11’ 32″ * 1968: ''Orldwturmac''. 35mm, colour. Sound: silent. 3’ 39″ * 1970: ''Springende Man En Vrouw'' (Jumping man and woman). 35mm, black-white. 1' 38″ * 1971: ''De Verliefde Camera'' (The Infatuated Camera). Broadcast: June 24. 1971 VPRO. Camera: Ed van der Elsken. Gerda van der Elsken-van der Veen. Technical assistants: Gerda van der Elsken-van der Veen, Bert Nienhuis. 16mm, colour and black-white. Sound: optical. 42’ 50″ * 1972: ''Death In The Port Jackson Hotel'', subtitle: Een portret van Vali Myers portrait of Vali MyersBroadcast: September 28. 1972 VPRO. Montage: Co van Harten, Sound recording: Bert Nienhuis. 16mm. colour. Sound: separate magnetic. 36’ 12″ * 1972: ''Spelen Maar...'' (Keep on playing...) Commissioned by: AVRO. Broadcast: October 28. 1972 AVRO. Sound recording: Gerda van der Veen. 16mm. colour. Sound: separate magnetic. 80’ 19″ * 1972: ''Paardeleven'' (Horse's life) 16mm. colour. Sound: perfotape. 8’ 08″ * 1972: ''Dleren Op Het Land'' (Animals in the countryside). 35mm, black-white. Sound: silent. 1’ 00″ * 1972: ''Kogelstootster'' (Shot-putter). 35mm, colour. Sound: silent. 1’ 05″ * 1973: ''Tom Ükker''. 35mm, colour. Sound: silent. 0’ 32″ * 1973: ''Edam''. 16mm, colour. Sound: silent. 8’ 52″ * 1973: ''Het Prins Bernhard Fonds Helpt'' (The Prince Bernhard Fund helps) I, II, III. Commissioned by: Prins Bernhard Fonds. 35mm, colour. Sound: optical. 3’ 50″ * 1974: ''Slootje Springen'' (Ditch jumping). 35mm. colour. Sound: silent. 0’ 43″ * 1976: ''Touwtrekken'' (Tug-of-war). Commissioned by: Nederlandse Touwtrekkersbond. Technical assistant: Anneke van der Elsken-Hilhorst. .Super 8. colour. 14’ 45″ * 1978: ''Het Is Niet Mis Wat Zij Doen'' (What they're doing is a good thing): Een film van Memisa. Commissioned by: Memisa (Medical Mission Action). Broadcast: January 16, 1978 AVRO. Editing: Ed van der Elsken, Anneke van der Elsken-Hilhorst. Sound recording: Anneke van der Elsken-Hilhorst. 16mm, colour (Super 8 original now lost). Sound: perfotape. 60’ 00″ * 1980: ''Avonturen Op Het Land'' (Adventures in the countryside). Broadcast: March 30, 1980 VPRO. Editing: Ed van der Elsken, Anneke van der Elsken-Hilhorst. Sound recording: Anneke van der Elsken-Hilhorst. Super 8, colour. Sound: perfotape. 78’ 41″ * 1980: ''Cameratest van der Elsken''. 16mm, colour. Sound: silent. 2’ 42″ * 1981: ''Mlster Ed En De Sprekende Film'' (Mr. Ed and the talking film). Broadcast: May 31. 1981 VPRO. Editing: Ed van der Elsken. Anneke van der Elsken-Hilhorst. Super 8, colour. Sound: perfotape. 74’ 31″ * 1981: ''Welkom In Hetleven, Lieve Kleine Bis'' (Welcome to life, dear little one: the sequel). Broadcast: January 24. 1982 VPRQ. Sound recording: Anneke van der Elsken-Hilhorst. Technical assistants: Anneke van der Elsken-Hilhorst. William Vogeler, Klaas Beunder, Anton van de Koppel, Henk Meinema. 16mm, black-white and colour. Sound: perfotape. 38’ 45″ * 1981: ''World Press Photo''. 16mm, colour. Sound: perfotape. 4’ 00″ * 1982: ''Een Fotograaf Filmt Amsterdam'' (A photographer films Amsterdam!) Working title: Amsterdams Peil (Amsterdam sounding). Production company: MMC Film BV. (Thijs Chanowski). Commissioned by: Ministry of Culture, Recreation and Social Welfare and the City of Amsterdam. Broadcast: June 29, 19B3 VPRO. Technical assistants: Anneke van der Elsken-Hilhorst, Klaas Beunder, Peter Hekma. Henk Meinema. 16mm, ECN, colour. Sound: optical 57’ 11″ * 1990: ''Bye''. Broadcast: January 27, 1991 VPRO. Camera: Ed van der Elsken, Anneke van der Elsken-Hilhorst. Editing: Ulrike Mischke. Sound recording: Ed van der Elsken, Anneke van der Elsken-Hilhorst. Technical assistant: Anneke van der Elsken-Hilhorst. video, colour and black-white. 1 hour 48″

Notes

References

External links

Ed van der Elsken
(official website) *
Ed van der Elsken - Galerie f 5,6
{{DEFAULTSORT:Elsken, Ed Van Der 1925 births 1990 deaths Artists from Amsterdam Dutch cinematographers 20th-century Dutch photographers