ABSTRACT This article explores previously undervalued aspects of Zionist and Israeli visual culture in light of the (newly recognized) significance of Jews in the history of photography. Zionism and the emergence of the State of Israel accrued a great deal of good will and benevolent publicity due to the historical confluence between Jews and the rise of photojournalism especially from the 1920s to the 1950s. The first part of the article focuses on Robert Capa, Chim (David Seymour), and Alfred Eisenstaedt, who were far more important, Berkowitz argues, than expressly Zionist photographers. The piece furthermore details little-known attempts to establish the history of photography as a discipline in Israel under the tutelage of (photographer) Arnold Newman and (photographer and photo-historian) Helmut Gernsheim. Despite the immense overrepresentation of Jews among eminent photographers, and the pioneering roles of Jews in photography, the Hebrew University and Israel Museum could have – but did not – become leading centers for the history of photography.

中文翻译：

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摄影与犹太人的亲缘关系：犹太复国主义和以色列的意外利益和浪费的机会

摘要 本文根据犹太人在摄影史上的（新认可的）重要性，探讨了犹太复国主义和以色列视觉文化先前被低估的方面。由于犹太人之间的历史融合和新闻摄影的兴起，尤其是从 1920 年代到 1950 年代，犹太复国主义和以色列国的出现积累了大量善意和善意的宣传。文章的第一部分重点介绍了罗伯特·卡帕、奇姆（大卫·西摩）和阿尔弗雷德·艾森施泰特，伯科维茨认为，他们比明确的犹太复国主义摄影师更重要。这篇文章还详细介绍了在（摄影师）阿诺德·纽曼和（摄影师和照片历史学家）赫尔穆特·格恩斯海姆的指导下，将摄影史确立为以色列一门学科的鲜为人知的尝试。