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Bildberichter PK: Hitler's combat cameramen


Quite distinct from civilian journalists and cameramen employed by the majority of the allies, Hitler had real fighting men make up the ranks of his PK (Propaganda Kompanie) units. Finding the soldiers that had the experience in photo journalism was the first hurdle, since they were to be soldiers first.

Black felt cuff title, approx. 19 3/4" x 1 1/2", with the legend "Propagandakompanie" embroidered in grey thread

But the Whermacht and Waffen-SS managed to overcome this issue and by 1939 the first members were ready for duty as "Division of Wehrmacht Propaganda" formally under the command of Admiral Wilhelm Canaris (German admiral and chief of the Abwehr, the German military intelligence service, from 1935 to 1944) under the Oberkommando des Heeres (OKH), the Supreme High Command of the German Army. later receiving instructions from the summer of 1939 directly from Generaloberst Alfred Jodl, the chief of the Wehrmacht Guidance Office. Under Hasso von Wedel, the PK gained ever greater independence, and at the end of 1942 was upgraded to become the "Official Group for Wehrmacht Propaganda"

One of the best works on wartime photography under National Socialism is Eric Borchert's book entitled "Decisive Hours. With the Camera on the Enemy "from 1941. The book contained rare color photography and captured the end of the western campaign in April 1940, Borchert noted:

"And now when I think back, under the skies of the South of France, I feel again these exciting hours, these hours of decision, which I was allowed to witness. The camera held her tight. I was nothing more than a tool she was allowed to hold; she documented what she wrote down and what the Fuhrer had ordered."

For Borchert, it was not only the camera led by his "Führer" that left the photographer behind as a mere tool; the photographer brushed off his profession as a journalist in Hitler's warfare and became part of the troupe; he fought: "The camera has become a weapon, an instrument of combat in the hands of soldiers. Because she is everywhere, where it comes to Germany and its fight. And the reporter, who once traveled across the land and across the seas, is nothing more than a soldier who can hold her. "

By the end of 1942, the PK groups had grown to 15,000 srong, or about the size of a division. It included 21 Army PK, eight Air Force PK, three Navy Propaganda Departments, an independent Marine PK, eight Propaganda Departments in the Occupied Territories, an SS Propaganda Battalion, and the Propaganda Operations Division - a special unit for United States psychological warfare.

Overall, the PK reporter produced about 80,000 word articles and more than 2 million individual photos. The material of the Propagandatruppen was used in particular for the creation of the German newsreel.

The strength of a PK company was 43 officers, 55 NCOs and 106 non-commissioned members.To ensure mobility he had per company: 3 motorcycles, 22 motorcycles with sidecar, 4 light vehicles, 18 medium VL, 9 VL heavy, 5 light trucks and 21 medium trucks used for broadcasts.

Joseph Goebbels, Hitler's propaganda minister is seen here on January 28, 1941 in conversation with chiefs of the three PK companies (Army, Navy and Airforce); far right (in profile) Hasso von Wedel.

Kriegsmarine war correspondent with telephoto lens and Atlantic Wall heavy cannon, 1941.

The cameras predominantly used by Bildberichters were Leica's, but Contax was another well known brand made by Zeiss Ikon that was also in circulation, By the 1930s the family-owned firm of Leitz, Inc., was internationally recognised as a premier German brand. During the Nazi period, and throughout WW2, Leitz produced cameras, range-finders, and other optical systems for the Nazis. The Nazi government needed hard currency from abroad, and Leitz’s single biggest market for optical goods was the United States. Leica's were used by British war correspondent George Rodger for Life magazine. Sgt Sandy McLaren of the British Army Photographic and Film Unit (AFPU) used his personal Leica alongside a Super Ikonta until temporary capture by the Africa Corps. Many Leicas were 'liberated' by the AFPU teams in Germany and used as back-up cameras to their official issue cameras.

Zeiss Ikon of Dresden were the direct competitors to Leica and produced the Contax. The name Contax was chosen after a poll among Zeiss employees. Dr. Ing. Heinz Küppenbender was its chief designer. Made between 1932 and 1936, the original, known as Contax I was introduced and was markedly different from the Leica in terms of design. Using a die-cast alloy body it housed a vertically travelling metal focal-plane shutter reminiscent of the one used in Contessa-Nettel cameras, made out of interlocking blackened brass slats somewhat like a roll-up garage door. This complex shutter became the characteristic of the Contax camera and its Super-Nettel derivative.

German Soldier using a Contax II

By contrast, the competitive Leica followed the established design of using rubberised fabric shutter curtains wound around rollers, moving horizontally. The Contax design allowed a higher maximum shutter speed: the top speed was 1/1000s, then increased to 1/1250s in the Contax II. The fact the shutter ran across the shorter dimension of the format area was a significant factor for achieving this technical feat.

Very rare 'Kriegsmarine' Contax II used by the German Navy during World War II, top cap engraved with imperial eagle and 'M5'. Serial numbers are engraved only inside the camera and on the back wall, with Tessar 2.8 / 5cm no.1938984.

In 1936 the Contax II and III models were introduced; the only difference between them was the integral exposure meter on the latter model. They introduced the combined eyepiece for both viewfinder and rangefinder, the shutter speed and film wind knob placed on the top plate, fastest shutter speed at 1/1250 s. and finished in chrome plating. They became very popular among professional photographers, especially photojournalists who demanded high-performance, large-aperture lenses for available-light work and a workhorse. The vertical shutter had both variations in speed, slit and a break that was again a Zeiss first.

“Luftwaffe” PK Leica camera

Apart from the Germans, the British Army Photographic and Film Unit (AFPU) attached to 30 Assault Unit, used the Zeiss Contax II (1936-45). It was liked by many professional photographers of the time – notably Robert Capa, Bert Hardy and Lee Miller. The AFPU allowed Hardy to use his Contax – but strangely refused to pay the costs of servicing it. Prior to the D-Day landings of June 1944, selected officers and men of 30 Assault Unit were given photographic training by the AFPU and were issued with Contax II cameras. Their task was to move ahead of the allied armies and capture key intelligence targets. Apart from the Contax, the other Zeiss made models in use by the AFPU was the Super ikonta models 530/16 and 532/16 issued as standard cameras. They were described in the AFPU manual as having been ‘proved to be the best and handiest in action’.

PK war correspondents (Kriegsberichter) were often derided as being half-soldiers. In the book Voices of the Flemish Waffen-SS: The Final Testament of the Oostfronters by Jonathan Trigg

Book excerpt from The Propaganda Warriors: The Wehrmacht and the Consolidation of the German by Daniel Uziel describing the PK man. (Pg 122)

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