**Yva: A Visionary Photographer in the Weimar Republic**

Yva, born Else Ernestine Neuländer on January 26, 1900, in Berlin, Germany, was a pioneering German-Jewish photographer renowned for her dreamlike, multiple-exposed images that encapsulated the essence of the modernist movement. As a Generator in Human Design, Yva possessed a powerful Sacral Inner Authority that guided her creative instincts, allowing her to respond authentically to the artistic needs of her time. This innate ability to “Respond” enabled her to navigate the dynamic landscape of photography, positioning her as one of the first to recognize its commercial potential during the Weimar Republic.

In 1925, Yva established her own photographic studio under the pseudonym Yva, quickly becoming a prominent figure in Berlin’s vibrant artistic scene. With a 5/1 Profile, she embodied the qualities of a problem-solver and a role model, utilizing her unique perspective to challenge the norms of her era, where men were predominantly seen as artists and women merely as subjects. Her work often emphasized the female form in innovative and ungendered ways, reflecting the sexual revolution of the time.

Yva’s artistic journey included a brief collaboration with painter and photographer Heinz Hajek-Halke in 1926, which ended due to a copyright dispute. Her brother, Ernst Neuländer, co-owner of the modeling salon Kuhnen, provided her with opportunities to photograph models, leading to her breakthrough publication in the prestigious magazine Die Dame in 1927. This success propelled her into the top fashion magazines of the day, where she specialized in fashion, nudes, and portraiture.

In 1934, Yva married Alfred Simon, who dedicated himself to managing the business aspects of her firm. She hired a young assistant, Helmut Neustädter, in 1936, who would later gain fame as fashion photographer Helmut Newton. That same year, in a bid to protect her business from the increasing anti-Semitic regulations, Yva transferred ownership to her friend, art historian Charlotte Weidler, allowing her studio to continue operations.

Despite her efforts to emigrate after receiving an employment offer from Life magazine in New York City, Yva was persuaded by her husband to stay in Germany, a decision that would prove tragic. In 1938, new regulations banned her from practicing photography, forcing her to close her studio. She continued to work as an assistant in the radiography department of the Jewish Hospital of Berlin until her arrest by the Gestapo on June 1, 1942. Tragically, Yva was deported to a concentration camp, likely Majdanek, where she was murdered, her life cut short amidst the horrors of World War II.

Yva’s legacy endures, with her work being recognized posthumously in the 2002 publication *Yva: Photographies 1925-1938*, authored by Marion Beckers and Elisabeth Moortgat. Her story, marked by creativity, resilience, and tragedy, continues to inspire future generations of artists and photographers. As a member of the Left Angle Cross of the Alpha (41/31 | 44/24), Yva’s life and work resonate with the themes of leadership and innovation, solidifying her significance in the history of photography. Her channels, including 34-10 and 26-44, further highlight her ability to connect deeply with others and influence the artistic community around her.