With no Jewish holidays coming up immediately, we bring you profiles of some well known and some not so well known Jews. Enjoy.
Philippe Halsman defied gravitas.
By Owen Edwards for Smithsonian Magazine

The
freezing of motion has a long and fascinating history in photography,
whether of sports, fashion or war. But rarely has stop-action been used
in the unlikely, whimsical and often mischievous ways that Philippe
Halsman employed it.
Halsman, born 100 years ago last May, in
Latvia, arrived in the United States via Paris in 1940; he became one of
America's premier portraitists in a time when magazines were as
important as movies among visual media.
Halsman's pictures of
politicians, celebrities, scientists and other luminaries appeared on
the cover of Life magazine a record 101 times, and he made hundreds of
other covers and photo essays for such magazines as Look, Paris Match
and Stern. Because of his vision and vigor, our collective visual memory
includes iconic images of Albert Einstein, Marilyn Monroe, Robert
Oppenheimer, Winston Churchill and other newsmakers of the 20th century.
And because of Halsman’s sense of play, we have the jump pictures—portraits of the well known, well launched.
This
odd idiom was born in 1952, Halsman said, after an arduous session
photographing the Ford automobile family to celebrate the company's 50th
anniversary. As he relaxed with a drink offered by Mrs. Edsel Ford, the
photographer was shocked to hear himself asking one of the grandest of
Grosse Pointe's grande dames if she would jump for his camera. "With my
high heels?" she asked. But she gave it a try, unshod—after which her
daughter-in-law, Mrs. Henry Ford II, wanted to jump too.
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