Photography in Hitler’s Germany, like other modern inventions and ideas, was readily utilised in the promulgation of politics and ideology. The photographers discussed were acknowledged and endorsed by the National Socialist government, producing work that was poetic and romantic, focussed as it was on the idealised image of the German. These photographers created a mythic and ideologised image of the Volk - their faces, their costumes, their labour, their architecture and their landscapes. This vision rejected rootlessness, individualism, universalism, cosmopolitanism and sought to restore tradition, a system where there was no distinction between nature and the order of human things. These photographers were constructing visual artefacts of the traditional in opposition to the nihilism of the modern world and the era of Nietzsche’s ‘Last Man’.