Visual

Arnold used natural lighting from the train station ceiling windows, giving an eerie and sinister lighting of Krupp’s face, and creating a shadow below his eyes and nose to add to his intimidating demeanour. It is clearly a specifically structure image, with Krupp in the foreground, staring at the camera in the centre, in a clearly planned position; he is framed using two concrete pillars on either side of him, taking up around half of the image, leaving the upper half to show the environment.

Contextual/Conceptual

Alfred Krupp was involved in the usage of slave labour in order to create Nazi weapons, so through his photography Arnold was able to present Krupp as a heartless, evil business man, showing the audience the reality.
When given the opportunity to have a sense of personal revenge against the Nazis, Arnold told others that his aim was to make Krupp look like the devil.

Technical

The image had a green tint, making the image seem cold which fits in with the entire feel of the image. The brightness is low to contrasts between Krupp’s face and his surroundings. The photo was also taken quite close up, using a wide angle with the camera focused on Krupp, with the background blurred.

Photo-montage is the process and the result of making a composite photograph by cutting, gluing, rearranging and overlapping two or more photographs into a new image. Sometimes the final image is then photographed so that it appears as a seamless photographic print. Photo montage today is often done digitally, using editing software such as adobe Photoshop, instead of physically cutting up and arranging images together. 

The first example of photo-montage was an image by Oscar Gustave Rejlander in 1857, called “The Two Ways of Life” This technique was quickly adopted by many other artists, including Henry Preach Robinson in 1858 with “Fading Away”

Photo-montage was first used to express political messages, for example in 1915 it was used by the Dadaists for their protests against the First World War. Dadaists were artists named for their participation in the Dada Art Movement, revealing the reaction to horrors of war. It was later adopted by the surrealists, using the possibilities of photo-montage to combine a wide range of images to reflect the ideas of the unconscious mind.