Schlagwort-Archive: Fotografen weltweit

#FacesOfPhotography – Teil 152: Franck Vogel aus Paris

Mit Beginn der Pandemie musste Franck Vogel beruflich umdenken – als ein sonst die Welt bereisender Fotograf hatte er schlicht keine Aufträge mehr. Was er aus der Situation gemacht hat und was für ihn die Fotografie kann, darüber hat er mit den #FacesOfPhotography gesprochen:

Franck, how are you?
I’m doing well and I’m waiting to be able to travel again… like everyone, I guess.

What is the current situation in France?
The third lockdown is over. We are again allowed to eat and drink at restaurant terraces and it really gives hope for the future.

Baba Shridhar Das, 42, joined Swami Rameshanand since one year in the oldest cave on the Ganges. He left home at the age of 15 and became a baba. Before performing his puja, prayer ceremony, he washes in the Ganges several times a day, but without soap. The water is very cold here (about 2-4°C) and purifies him.

What have you personally experienced job-wise an in your free topics in the last weeks and months?
Since I’m used to travel the world for GEO magazine, I had to find new idea to work. I therefore did some corporate photos and films and we launched during the first lockdown in March 2020 a Youtube and Weibo channel (ZAF in Paris) with my Chinese wife and 4-year-old daughter Amber. It’s about art, lifestyle and parenting, and we became influencer on Weibo in China for Centre Pompidou, Fondation Cartier and Paris Musée. Besides that, we are currently working on a new Biennale (art, environment and citizenship) near Paris for 2022.

Ethiopia – After the Divine Liturgy, lake Tana’€™s water is blessed by a priest from the nearby Orakidanu Bret monastery and sprinkled on the crowd.

What are the implications of the pandemic for the photographic industry in France in general?
Since all cultural events have been cancelled or postponed it has been quite difficult but the government did help photographers with some minimum wages if they had no activity.

Lealui, Zambia – The Barotseland and the amazing plains flooded by the Zambezi River in Western Zambia.

What means photography for you personally?
Photography is a way to document history but for me it’s more to inspire people and create awareness about environment protection with powerful images.

During their main festivals, each Bishnoi family has to offer wheat or millet in order to feed gazelles, black antelopes, peacocks and pigeons living around the sacred temples.

What is your personal photographic wish for the future?
I simply wish to be able to document the world again and come to Zingst to visit my exhibition on Transboundary Rivers.

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#FacesOfPhotography – Teil 150: Dougie Wallace aus London

Die Monate der Pandemie nutzt Dougie Wallace seit Beginn an für eigene Projekte – jüngst ist sein neues Buch »Bus Response« erschienen, für das er das tägliche Londoner Leben in den und rund um die so typischen roten Londoner Busse fotografiert hat. Darüber, über seinen Blick auf die Fotografie und über seinen aktuellen Job haben die #FacesOfPhotography mit ihm gesprochen:

Dougie, how are you
Fine, thank you. Trying to keep sane, like everyone else in these mad times.

What is the current situation in London?
London has been in lockdown for so long that it has become the new normal. We’ve been living under different tiers of COVID restrictions. Right now, we ‘upgraded’ from full lockdown to being able meet up to 5 people outside and hospitality venues can operate under social distancing rules, outdoors only. It has been unseasonably cold, so that’s not great but London is soldiering on. The next wave of restrictions and big step to freedom is mid-May.

Has the pandemic changed photography in general?
Like any creative industry, the universe of photography has been badly affected. The big blow was of course last year when we went into months of lockdown and life went into standstill. When there are no opportunities, you have to create your own and I don’t think ‘photography in general’, as you say, is well geared to that. What I mean is that many photographers, used to commercial work, found themselves idle and unable to operate because there was no work unless you are a photojournalist and get access to a hospital COVID ward. Photographers from arts or documentary backgrounds like myself are more used to creating projects rather than waiting for the phone call from the agent in order to get a project. So, that’s the immediate impact of the pandemic, although I don’t think you can generalise. Photo fairs could not operate. But, I hear that sales of prints went through the roof. I know with my prints, they were selling well during the pandemic, at least the first wave. It was selling more than usual. So, we’ll have to see, once the pandemic is over what the full impact was and how the industry changed. Right now, we are still in it.

What means photography for you personally?
Personally, I went out there and started shooting pretty much from the outset, documenting life on the streets under the pandemic. I now have a body of work, a year’s worth of it. There were different stages of what I was shooting between March last year and up to now – mirroring the current affairs headlines but also driven by ordinary – or extraordinary, more like it – life on the streets of London. A major theme was in supermarkets, at the start of the pandemic and then it shifted towards shooting in and around London’s iconic red buses. I published a book called »Bus Response« by Dewi Lewis (February 2021). It is a luxuriously presented box-set limited edition of numbered books and signed. There are only 100 but the project in and around buses continues, though it may be drawing to a close, as we’re getting nearer the end of lockdown restrictions. But, I don’t know. We’ll see.

What have you personally experienced job-wise an in your free topics in the last weeks and months?
I am first and foremost a social documentary photographer, not a commercial photographer so I have been busy shooting almost on a daily basis for my project of documenting London life in pandemic. I do some commercial work from time to time when clients seek my style and I regularly do editorial work. Most recently, I covered a quirky story of a parish meeting going pear shaped over zoom and, somehow, that hit all the headlines. My shoot was for the Economist’s online platform. The job took me to Handforth (no I haven’t heard of the place before either but it will come up through a search engine!).

What is your personal photographic wish for the future?
To carry on doing what I love. As I said, right now, the ‘bus’ project is still alive and kicking but I am already thinking of new themes and I have already started shooting some new London vibes – watch this space.

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#FacesOfPhotography – Teil 149: Alexander Bronfer aus Raanana

In Israel entspannt sich die pandemische Lage zusehends – seither streift Alexander Bronfer wieder abends mit seiner Kamera durch die Straßen und fotografiert. Woran er derzeit außerdem arbeitet, darüber hat er mit den #FacesOfPhotography gesprochen:

Alexander, how are you?
We are fine at that point of time. You never know in the Middle East what comes next. We passed the pandemic, the war and political instability. Hope all that is in the past.

What is the current situation in Israel?
The country is coming back to normal life thanks to herd vaccination which has almost been achieved. During the pandemic people missed a simple conversation on the street and now they fill the narrow streets of South Tel Aviv and it looks like everybody wants to love and be loved and I am not an exception. We began to appreciate the simple pleasures of life… a glass of arak with a pomegranate juice and the taste of Irakian cheese on a white plate and a beautiful woman on the next table.

What have you personally experienced job-wise an in your free topics in the last weeks and months?
Life is coming back to Tel Aviv. The city was silent for so long and now people fill out its streets like cold water in a spring creek and I am trying to capture that. I feel it is a unique moment of joy and worldly wisdom which always comes after severe disasters. So I am there … in the night streets of Tel Aviv … every evening … wander with my Leica.

What are the implications of the pandemic for the photographic industry in Israel in general?
I think it is not different from other countries. Not much can be done during lockdowns. All shows were delayed or canceled. It was a hard time. During the pandemic I mainly captured my family as did many of my colleagues. The series about my son was presented at Israeli press show which took place on the streets of Tel Aviv. It was scared and hard time and I am glad that it had passed.

What means photography for you personally?
It is always difficult to answer that question and there is no simple answer to it. Everyone wants to tell … express and leave behind something valuable. That’s why we are human beings and we are doing that in many different ways. I percept the world around me through photography because this is my way of self expression.

What is your personal photographic wish for the future?
I don’t like planning too far into the future but for the upcoming year I am thinking about a pretty personal series which will stretch over multiple countries where I lived. In parallel I am working on a book about the Dead Sea and its ecological disaster.

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#FacesOfPhotography – Teil 148: Louiza Vradi aus Athen

Trotz umfassender Absagen zu Beginn der Pandemie, hat Louiza Vradi in den letzten Monaten mehr und mehr Jobs bekommen und zusätzlich an freien Projekten gearbeitet. Wie die Stimmung in der griechischen Fotobranche ist und was sie sich fotografisch für die Zukunft wünscht, darüber hat Louiza mit den #FacesOfPhotography gesprochen:

Louiza, how are you?
I am fine. I am in Athens after a series of travels to some of the Greek islands, where I’ve been on assignments. At the moment, I am trying to find the balance between work and rest, physically and mentally.

What is the current pandemic situation in Greece?

Currently in Greece, vaccinations are progressing as the country is facing a big wave of infections. Covid-19 along with the measures imposed and a spectrum of issues that arose during the pandemic, especially issues around violations of human rights, have brought a lot of tension in the society. Besides the physical illness, the pandemic has also strongly affected the mental and emotional state of the collective, which is an important issue that we need to deal with. As summer just arrived, the travel and business restrictions have just been lifted. Greeks are now able to travel within the country and work again after seven months of lockdown. This fact along with vaccinations has led to increasing optimism.

What have you experienced professionally in the last weeks and months?
Although most of my work was cancelled a year ago, I was fortunate enough to have new collaborations popping in. Especially during the last months my professional work has bloomed and I was able to experience different realities through my work, some very stressful but others more peaceful. Having being fortunate enough to travel during the last weeks, I have witnessed contrasting sides of the reality we live in – from the quiet life in a small island of 400 residents to massive protests and from the lives of digital nomads living in a paradise beach to the pain coming from the loss of loved ones. Thankfully, I was able to stay productive and creative in the last months.

What does the pandemic mean for the photo industry in Greece?

The pandemic has affected all parts of the photo industry, not only in Greece. For example the event photo business unfortunately has been hit the hardest while commercial shooting is still on its feet. In general everything that is connected to online marketing is going strong. Furthermore, since it was not easy for photographers from abroad to come to Greece, greek photographers had the chance to reach a wider audience. Nevertheless, it was a hard period for everyone and some of my friends and colleagues were forced to do something else in order to earn their living during this last year.

Did you have time, capacity and leisure to work on free projects?
For the last month I have tried to focus my energy on a personal photo project of mine around the sea. At the moment, I am also completing a collective textile artwork that I have been working with a community of unique women artists. Last but not least, I continue shooting my first documentary film that I started creating two years ago. As a creative person in the midst of different projects, I think it is important to find time to pause and let my work and myself breathe.

What is your personal photographic wish for the future?
My goal is to keep my path purified and stay aligned with my vision while navigating life in a purposeful way. Additionally, I want to continue using my craft and tools in a therapeutic way to my communities, as I have been doing for the past decade.
I hope I can use my camera and art in a way that shines light in the dark side of the world I have been living in.

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#FacesOfPhotography – Teil 147: Anna Stöcher aus Wien

Anna Stöcher vermisst beim Fotografieren die Interaktion ohne Maske. Schaut aber ob der allgemeinen österreichischen Lockerungen, und der dadurch resultierenden beruflichen Aussichten, durchaus optimistisch in die Zukunft. Woran sie derzeit arbeitet, und was sie in den vergangenen Wochen und Monaten erlebt hat, darüber hat sie mit den #FacesOfPhotography gesprochen:

Anna, wie geht es Dir?
Mir geht es bestens. Seit wir Frühlingswetter haben und das Tageslicht länger ist, gibt es auch mehr Möglichkeiten, im Freien zu fotografieren. Zum Beispiel Portraitfotos ohne FFP2-Masken.
Ich merke auch, daß meine Auftraggeber aktiv werden, sobald ein Ablaufdatum des Lockdowns in Aussicht gestellt ist. Dann klingelt das Telefon und die Mails fliegen rein.

Wie ist die aktuelle Lage der Fotografie-Branche in Österreich?
Nach wie vor sind alle Veranstaltungen abgesagt. Ebenfalls haben noch alle Bühnen und die Gastronomie geschlossen. Trotzdem gibt’s in den nächsten zwei Monaten viel zu tun, denn viele Kunden wollen nach Möglichkeit nachholen, was in den vergangenen Monaten aufgrund des strengen Lockdowns in Österreich unmöglich war. Natürlich alles nach einem Antigen-Test, mit Maske und Abstand. Testen geht mittlerweile sehr unkompliziert und schnell. Sonderbar war die Regelung während des Lockdowns im Winter 2020/2021: Businesskunden konnte man sowohl drinnen als auch im Freien fotografieren, Privatkunden jedoch nur im Studio, da aufgrund der Ausgangssperre fotografieren im Freien zu privaten Zwecken verboten war.

Wie ist es Dir persönlich beruflich in den vergangenen Wochen und Monaten ergangen?
Während des Lockdowns gab es mehr Absagen als Zusagen. Obwohl Fotografie nicht prinzipiell verboten war, sondern nur eingeschränkt, haben viele Kunden ihre Fototermine verschoben oder storniert. Da auch Friseure geschlossen hatten, wartete etwa eine Rechtsanwältin oder ein Schauspieler auf einen neuen Haarschnitt, bevor er oder sie sich einen Fototermin ausgemacht hat. Somit gab es eine Kettenreaktion von Absagen.
Mir ist aufgefallen, dass mir die sozialen Kontakte fehlten, die ich beim Fotografieren habe… in unterschiedliche Gesichter blicken, Interaktionen ohne Bildschirm, Menschen kennenlernen. Der Winter war länger als sonst!
Aber ich kann mich sehr glücklich schätzen. Aktuell fotografiere ich unter anderen für ein Kochbuch und genoss zur Abwechlsung gerade Essen vom Heimlichwirt in Gols, das ich nicht selbst gekocht habe. Auch die Theater proben ohne Premierenaussicht. Beruflich war ich jedoch soeben bei der Fotoprobe des Theaterstücks „Wer hat Angst vor Virginia Woolf“ im TAG-Theater. 2x große Empfehlung, sobald ab dem 19. Mai alles wieder aufsperrt!

Hattest Du Zeit, Kapazität und Muße, um an freien Themen zu arbeiten?

Normalerweise mache ich jeden Winter eine lange Reisereportage. Heuer habe ich für alle Daheimgebliebenen eine digitale Lockdownreise auf Socialmedia mit Bildern vergangener Reisen veröffentlicht.

Hat die Pandemie Deinen Blick auf die Fotografie verändert?

Im Grunde nicht. Vielleicht jedoch, dass ich mir mehr Zeit für jeden Auftrag nehme als zuvor.

Was ist Dein persönlicher fotografischer Wunsch für die Zukunft?
Ich möchte bald wieder ohne Maske Personen fotografieren können. Wenn ich Portraitfotos mache, spiegelt mein Gegenüber meinen Gesichtsausdruck. Solange ich hinter einer Maske versteckt bin, ist die Emotion nicht so unmittelbar übertragbar.

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#FacesOfPhotography – Teil 146: Jenn Ackermann und Tim Gruber aus Minneapolis

Jenn Ackermann und Tim Gruber denken, dass die Trageweite der Pandemie den Menschen erst durch die Fotografie tatsächlich bewusst geworden ist. In ihrem fotografischen Alltag freuen sie sich mittlerweile darüber, dass ihre Assignments immer weniger von Covid-19 beeinflusst werden. Woran sie gearbeitet haben und was sie sich fotografisch wünschen, darüber haben sie mit den #FacesOfPhotography gesprochen:

Jenn and Tim, how are you?
All things considered, we’re doing much better over here since last spring when COVID first hit and we didn’t know much about the virus. We are both vaccinated now so it feels like a huge burden was lifted off our shoulders.

A billboard encouraging people to wear their makes in Linton, N.D., 2020.

What is the current situation in the USA?
I feel like we’re all seeing the light at the end of the tunnel. The vaccine has brought a lot of hope and the COVID numbers continue to fall daily so hopefully, that’s a trend that continues. Hopefully before long there will be a sense of normalcy waiting for us if we can just hold tight for a little bit longer.

Sunisa Lee, an olympic hopeful, trains at Midwest Gymnastics, in Little Canada, Minn., 2020.

How do you see the role of photography in these times?
Obviously, as photographers, we’re a bit biased but we feel like photos have helped take us into the severity of this pandemic. While facts, data, and the written word hold great value there’s an emotional impact a photo or photo series can have that words and numbers will never be able to rival. Hopefully, this will be the last global pandemic we all experience in our lifetimes. Whether it’s photos of being in lockdown with your family or out documenting a COVID-19 testing site all the photos in the years and decades to come will be of great historical value.

Health care workers administer a COVID-19 test outside the Edgeley Ambulance building in Edgeley, N.D., 2020.

Has the pandemic (and all the other big issues in the US) changed photography?
We think it’s safe to say 2020 was a very trying year for everyone. Before COVID-19 we never gave much thought to our normal everyday interactions with people. While we cherished being able to go out and spend time with the people we photographed we never imagined that for over a year that simple interaction would be completely changed. On top of that we live in Minneapolis and only five blocks from where George Floyd was killed so it feels like we all have on an emotional rollercoaster for the past year.

A sign on the roof of a home says „In God We Trust“ in Sioux Center, Iowa, 2020.

What have you personally experienced job-wise in the last weeks and months?
For the past year, a lot of work has had a heavy COVID factor to everything we were photographing. Meaning most of the stories or projects we were working on were about something dealing with COVID or closely tied to it. In the last few weeks, we have gotten a few assignments that have had nothing to do with COVID which has been so refreshing. We are looking forward to the day where we can photograph people inside their spaces again rather than outside their front door.

Dancers with Northern Plains Dance wait backstage during their performance of The Nutcracker at the Belle Mehus Auditorium in Bismarck, N.D., 2020.

Did you have time and leisure to work on free topics?
Shortly after the pandemic hit and after our lockdown we started a personal project looking at our food supply chain here in the States. That led to a magazine commission so that was great luck, but that rarely happens. Otherwise, thankfully we’ve been able to stay busy enough with commissioned work that we didn’t have as much free time as we originally thought to work on the project. But like all our personal projects we’ll probably keep working on it for years until we feel like we have completely exhausted the topic. For our personal well being we have also made a point of getting outside more often this past year which is something we plan to continue even when the pandemic is over.

Butchering a steer in Bowlus, Minnesota, on Thursday, May 7, 2020.

What is your personal photographic wish for the future?
We’ve been extremely fortunate to be able to do what we love for years and through this pandemic. While it’s a pretty simple goal our hope is to continue doing what we love. We have that same passion for photography that we did when we first picked up a camera which is mainly thanks to amazing clients sending us out to do our thing. So between commissioned work and personal projects, the hope is to simply keep creating work and meeting fascinating people along the way.

A hotel pool surrounded by the darkness of night in Bemidji, Minn., 2020.

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#FacesOfPhotography – Teil 145: Tobin Jones aus Nairobi

Im März des vergangenen Jahres wurden alle Jobs von Tobin Jones innerhalb eines Tages abgesagt. Rückblickend hat er in den Monaten danach etwa die Hälfte seines sonst üblichen Jahresvolumens fotografiert, hat an freien Strecken gearbeitet und macht sich Gedanken darüber, wie auch in Zukunft mit der Fotografie Geld verdient werden kann – über all das hat er mit den #FacesOfPhotography gesprochen:

Tobin, how are you?
As I’m sure has been the case for freelance photographers its been a fairly tough year, but all things considered I can’t complain too much. I’ve been lucky enough to have been able to ride most of the pandemic out in Kenya, where the restrictions have been considerably less draconian that in Europe. As a result I’ve still been able to photograph, though probably at only about 50 percent capacity of what I’m used to.

What is the current pandemic situation in Kenya?
Kenya has been faring reasonably well. The country enforced wearing masks very early and, although it never went into a full lockdown, a curfew and restrictions on bars and restaurants has helped to stem the pandemic to a certain degree. We are in our third wave now, however, which feels like it may be a lot worse than the first two. There’s a lot more anecdotal evidence of people catching Covid and I believe the hospitals are just about at capacity. There’s no telling whether we’re at our peak already, or if there’s more to come, so at this point we’re all just keeping our fingers crossed that the rate of infection starts to decrease soon.

What have you experienced professionally in the last weeks and months?

Professionally the last twelve months have definitely been difficult. I remember in March last year having about four different clients all cancel jobs on the same day and then having virtually no work for the next four months. Things did pick up towards the end of the year however, so to a certain extent I was able to still photograph quite a bit – albeit in a much shorter time frame.

How did you get into photography and what does it mean to you?
I first started photographing right after I graduated from high school and took a year off before university to travel. I really took to the medium and about half way through the year got the idea that perhaps this was something I could one day make a living doing. As a person I think I’ve always been attracted to pursuits that are both technical and artistic, which is a line I think photography straddles quite well. I like the idea in photography that you’re not quite creating something out of nothing, but rather using your camera to interpret what’s already there. It gives you confines in which to work in, kind of like an architect gets when having to build something to work in a specific location or site, rather than just a blank canvas an artist gets on which they have to create something wholly new.

Did you have time, capacity and leisure to work on free projects?
A little. I have to admit, I think I became the quintessential lockdown cliche. I started running, then took up baking, adopted a dog, made kombucha, and enrolled in an online course. The only thing I think I didn’t do was try making sourdough bread! I did work on some personal photography projects as well though. One of these has been a series of typologies on everyday homemade objects I’ve found while working in Africa – flip flops made out of tyres, footballs made out of plastic bags, and knives welded together out of scrap metal. Its been really fun working on something more conceptual and also something that doesn’t require I interact as much with actual people.

What is your personal photographic wish for the future?
I think the pandemic has really shown most photographers and a lot of other creatives how vulnerable their industries are. Photography has been suffering for a while now and I think the industry really needs a sea change when it comes to how it monetizes itself. I can’t claim to have the answer to this, but personally its really made me think about how to diversify and expand my revenue streams – going from depending on clients for commissions to looking how I may be able to sell my photographs through stock footage services, selling my photography as fine art, and keeping an eye out for any new technological innovations (e.g. NTFs) that I may one day be able to use as a way to make money.

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#FacesOfPhotography – Teil 141: Rodrigo Cruz aus León

Rodrigo Cruz‘ Wunsch ist es, auch in Zukunft noch fotografische Aufträge zu bekommen – die Magazine in Mexiko sind entweder dank Digitalisierung auf deutlich mehr Videoproduktionen umgestiegen oder schlicht nicht mehr existent. Was die Fotografie ihm bedeutet und wie er die Rolle der Fotografie in der Pandemie einschätzt, darüber hat er mit den #FacesOfPhotography gesprochen:

Rodrigo, how are you
I’m well, fortunately with good health and waiting for the activities to be fully reactivated.

A couple and other people during a soccer game in Boca Colorado, a town formed by mining activity.

What is the current situation in Mexico?
At the beginning of the year the situation was very complicated, there were many infections of COVID-19, the newspapers gave information that the hospitals were full and people were desperately looking for oxygen tanks for their relatives, but now several cities have begun to reactivate activities.

A man watches through a hole the movements of the U.S. Border Patrol and overnight waits patiently for the right moment to jump up the wall that separates Mexico from the United States, in Tijuana, Mexico.

What means photography for you?
I’m a visual artist and photography was the medium that I chose and that has allowed me to see more deeply the world in which I live, it’s something that I do with passion every day. Even after many years, I’m still fascinated by the moment when all the compositional elements and emotions come together and an image is created.

A child looks out through back window of a bus. Many children are recruited from their communities to work with low salaries in agricultural fields of Culiacan, Mexico.

How do you see the role of photography in these times?
The role of photography continues to be to communicate, to preserve in each photograph a fragment of history, it’s an art form, the only difference is that now millions of people carry out this activity on a daily basis.

Indigenous families stay during all night at the cemetery to celebrate Day of Dead in Cochoapa el Grande, Guerrero.

Has the pandemic changed photography?
Each specialty within photography has been affected in some way, it seems to me that we will have to take more precautions when working in public spaces, the way of approaching people will have to be modified for the health of ourselves and the people we are going to photograph. As time goes by, I hope we return to what it was before.

The Fire Walk is the celebration held by the indigenous communities of Michoacán every February 1 to celebrate the Purépecha New Year.

What is your personal photographic wish for the future?
My wish is to continue having work as a photographer, at least in Mexico several magazines have disappeared and others have made the complete transition to digital, video production has undoubtedly increased and I have perceived firsthand that photography assignments have been seen reduced.

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#FacesOfPhotography – Teil 138: Suzan Pektaş aus Istanbul

Nach einer Phase der Konfusion und Unsicherheit hat Suzan Pektaş die durch die Pandemie entstandenen Freiräume offensiv für ihre Fotografie genutzt. Sie hat ein Buch herausgebracht, arbeitet bereits am nächsten und bereitet eine neue freie Arbeit vor. Über all das und noch mehr hat sie mit den #FacesOfPhotography gesprochen:

Suzan, how are you?
In those unpredictable days, I try to stay well by being active, producing, writing, photographing, assembling things and so on. I push myself to see the good and the beauty that resides in this chaotic environment. I close my eyes to see the light and pull it out of the darkness into my work. If I can’t find the light, I move on and come back later.

What is the current pandemic-related situation in Turkey?

The situation in Turkey is no different than the rest of the World. In a sense, the pandemic reminded us all that we are on board of the same ship and no different than one and other. This has a good side and a bad side. The good side is that we are not much different, the bad side is that neither of us stand close to the good. I was expecting that the awareness that raised globally during the first months of the pandemic would be lasting. I was expecting that we would be more patient, more innovative and creative, more respectful to each other as well as to the planet but I am proven wrong. I have been reading a lot of news about gender crimes towards women, hate crimes to minorities, tortured and killed animals and so on. I am afraid the hope I had in the first days of the pandemic was a dream and the humankind will go on from where he/she has left before the pandemic. I wish we did hold on life itself with love, which everyone seemed to embrace just a year ago. It looks like a missed opportunity for us all.

How does the situation affect photography and photographers in Turkey in general?
We are going through times that will have a lasting impact on the future. The political unrest that is somewhat a characteristic of our geography, has not been into our lives as much as it is now. It may be due to an increased awareness, but anyhow we continue to create with an ever-increasing passion and pace, building digital alternatives for creating, interacting and sharing. As the saying »Art is for hard times« goes, this situation boosted creativity and activity, maybe, in an unprecedented way. We had fairs, festivals, auctions, competitions, exhibitions all in digital media. We use this opportunity to revitalize the belief and hope in art for all the good it will bring. I believe, this period will have its own memory and impact the future of arts. Online digital media has come into arts permanently and will accompany classical media even after the pandemic. The online platforms that connected artists, who used to have their own closed circles, will be actively used from now on. And this increased interaction will have a lasting and positive effect on all forms of art. Art is a strong hold on life and that’s what I held on. During the first months of the pandemic, I was very concerned, confused and uncertain. I questioned to find a meaning in existence in such a world. Those were my tidal days. Then, I gradually grasped the control. I focused on the changes. The new life practices we built offered me open spaces and escape points, which I used all for photography. And it fed me back. I already had the first maquette of my book and the pandemic gave the time to concentrate on it further. Some of the images in my recently published book were shot during this period. I had the chance to closely watch the physical and spiritual changes that my daughter and I went through. It was a unique experience in this respect.

How and what are you currently working on photographically?

I have an ongoing project since 2017 about a young immigrant African woman living in Istanbul, Naomi. I have been accompanying her in different settings ranging from Sunday masses to boat parties. I want to tell her story from inside, crisscrossing with my personal immigration story. During the course of the project, we built a strong connection and the project evolved into a collaborative creation, a joint narrative about Naomi. I am currently making arrangements and editing. I plan to publish a book on this specific project.
There is also a new photo research project about a mining town in Turkey which had its heydays more than a 100 years ago. It will be an inter-disciplinary work focusing on the relations and mutual interactions of society, individuals and environment. We will seek to uncover the traces of the past in today. It’s a very new project and we are currently in preliminary research phase.

What is your personal photographic wish for the future?
I am constantly pushing myself to think differently, to work with new mediums and collaborate with other artists to involve new dimensions into my work. I want my work to have depth and a transforming momentum. Moving forward from this point of view, I aim to be more productive in a collaborative and inter-disciplinary setting. I, also, have long been dreaming of spending some private secluded time in an artist residency. Now, it looks more feasible than ever and I hope to realize this.

Website von Suzan Pektaş
Instagram-Feed von Suzan Pektaş

P.S.: Die Arbeiten von Suzan sind ab dem 28. Mai 2021 in der Leica Galerie in Zingst zu sehen.

Natürlich können Sie auch gerne über Fotogloria Kontakt zu Suzan aufnehmen – melden Sie sich jederzeit unter 040 609 42 906 -0 oder

#FacesOfPhotography – Teil 135: Peter Nitsch aus Bangkok

Peter Nitsch hat in den Monaten der Pandemie die Stille wiederentdeckt und aus ihr heraus ein Buch aus seinem Langzeitprojekt »Tango in The Big Mango« realisiert. Worüber er sonst nachdenkt und was die Kultur- und Kreativwirtschaft für die Bruttowertschöpfung bedeutet, darüber hat er mit den #FacesOfPhotography gesprochen:

Peter, wie geht es Dir?
Danke, jetzt wieder besser. Ich hatte sechs Wochen mit mehreren eingeklemmten Nerven zwischen dem zweiten und fünften Lendenwirbel gerungen – dehnen, schreien, dehnen, schreien, dehnen, Entspannung. Dadurch habe ich auch wieder gelernt mich an vermeintlich kleinen Dingen, wie das Packen der Kameratasche, was ohne Schmerzen nicht möglich war, zu erfreuen und zu schätzen.

Aus: »Tango In The Big Mango’« – a Baudelaire-like photo documentary about Bangkok.

Wie ist – mit Blick auf die Pandemie – die aktuelle Lage in Bangkok und Thailand?
Von den Infektionszahlen aus gesehen ist die Lage gut in Bangkok. Seit Ausbruch der Pandemie vor einem Jahr waren bis dato 27.000 Menschen infiziert. Aktuell sind es etwa 80 neue Infizierte pro Tag in ganz Thailand. Ich glaube das liegt auch daran, dass Thailand eines der wenigen Länder war, die sofort nach Ausbruch einen Einreisestopp verhängt hatten. Danach wurde dieser dahingehend gelockert, das man nur einreisen darf, wenn man sich 14 Tage in selbstbezahlte – für Ausländer – Quarantäne begibt. Bis heute ist diese Regelung in Kraft. Demnächst soll aber die Einreise erleichtert werden. Wenn man eine Covid-19 Impfung vorweisen kann, würde die Quarantäne wegfallen.

Warum bist Du Fotograf?

Für mich ist Fotografie Erinnerungskultur. Ich mochte schon immer gerne Biografien lesen und Menschen beobachten. Von beiden kann man viel für sich und über sich selbst lernen. Fotografie vereint für mich beides in einem und gibt mir die Möglichkeit Menschen und ihre Lebensweisen kennenzulernen.

Aus: »Tango In The Big Mango’« – a Baudelaire-like photo documentary about Bangkok.

Wie sieht die Fotografieszene in Thailand aus?
Die Fotografieszene Thailand und speziell Bangkok ist auf jeden Fall sehr lebendig und vielschichtig. In Südostasien ist fotografieren und fotografiert werden in jeglicher Form im Alltag integriert – man fotografiert nicht nur sondern lässt sich auch gerne fotografieren. Neben kommerzieller Fotografie ist in Thailand die Straßenfotografie weit verbreitet. Portraitfotografen bin ich eher selten begegnet, dafür aber vielen Bloggern, die gerne mit einer Leica Q2 sich selbst oder ihr Essen fotografieren.

Wie schätzt Du die Auswirkungen der Pandemie auf die Fotografie generell ein?
Die Folgen der Coronavirus-Pandemie hat der Kreativbranche die größte Krise seit dem Zweiten Weltkrieg beschert. So würde es die Politik ausdrücken, wenn die Fotografie die Autobranche wäre, um dann im Anschluss einen Investitionsschub anzubieten. Doch seit Ende der 1980er Jahre entwickelte sich die Kultur- und Kreativwirtschaft zu einem der dynamischsten Wirtschaftszweige der Weltwirtschaft. Ihr Beitrag zur volkswirtschaftlichen Gesamtleistung (Bruttowertschöpfung) in Deutschland betrug im Jahr 2019 106,4 Milliarden Euro (Anteil am BIP: 3,1 Prozent). Das muss man sich vor Augen halten. Damit übertrifft die Kultur- und Kreativwirtschaft laut BMWi (Bundesministerium für Wirtschaft und Energie) in Sachen Wertschöpfung inzwischen andere wichtige Branchen wie die chemische Industrie und Energieversorger. Nur der Fahrzeugbau erzielt mit aktuell 162,1 Milliarden Euro eine deutlich höhere Bruttowertschöpfung. Da liegt für mich der Hase im Pfeffer! Meiner Meinung nach ist die Fotografie Kulturpolitisch völlig unterbewertet. Aber wer als Fotograf Glück hatte, so wie ich, der konnte das durch die Pandemie entstandene Vakuum erst einmal für sich nutzen und inne halten. Die Stille wieder zu entdecken war für mich die wertvollste Erkenntnis der Pandemie.

Aus: »Tango In The Big Mango’« – a Baudelaire-like photo documentary about Bangkok.

Wie ist Dein persönlicher fotografischer Wunsch für die Zukunft?
Das aus der Pandemie-Zeit herüber gerettete »mehr Zeit haben« um eigene Projekte zu verwirklichen. Dieses Zeit-Vakuum war für mich äußerst befreiend. So konnte ich auch mein Langzeit Projekt »Tango in the Big Mango« mit Hilfe von Kickstarter-Unterstützern als Fotobuch realisieren und im Anschluß den Verlag Hatje Cantz als Herausgeber gewinnen. Demnächst wird noch eine Collector’s Edition im Acrylschuber mit signiertem Print bei Chromfeld erscheinen.

Website von Peter Nitsch
Instagram-Feed von Peter Nitsch
LinkedIn-Kanal von Peter Nitsch

Natürlich können Sie auch gerne über Fotogloria Kontakt zu Peter aufnehmen – melden Sie sich jederzeit unter 040 609 42 906 -0 oder